The Guitar Works of Stephen Dodgson

The Guitar Works of Stephen Dodgson
John Lawrence Mackenzie

Submitted in accordance with the requirements for the degree of PhD
The University of Leeds School of Music
February 2006
The candidate confirms that the work submitted is his own and that appropriate
credit has been given where reference has been made to the work of others.
This copy has been supplied on the understanding that it is copyright material and
that no quotation from the thesis may published without proper acknowledgement.
Acknowledgements
Acknowledgements are due to Professor David Cooper of the School of Music at Leeds
University, who scrutinized each part of this work as it was completed, and offered what were
always constructive observations and recommendations; Graham Wade, who gave so much
encouragement, particularly at the start of the project of which this dissertation is the
culmination; Dr. Paul Sparks, for his sagely guidance; Alison Ewens, the Registrar of The Old
Stoic Society, who went far beyond what could normally be expected to answer comprehensively
my enquiries regarding Stephen Dodgson's life at Stowe School; and Stephen Dodgson himself,
who responded patiently to my many questions during a series of interviews, and provided a large
number of original scores.
ABSTRACT
John Lawrence Mackenzie
The Guitar Works of Stephen Dodgson
Submitted in accordance with the requirements for the degree of PhD, February 2006.
In 1986, the guitarist Roy Brewer expressed a thought in the minds of many guitarists when
he wrote in his book A Guitarists Notebook that 'the guitar is an instrument searching for
an identity'. This dissertation examines the guitar music of Stephen Dodgson, an English
composer born in London in 1924, and who has been a prolific composer of music that
includes the guitar since the early 1950s. It examines Dodgson's guitar music to determine
the extent to which it reveals the guitar's identity, or helps to provide it with one; the extent
to which his writing provides guitarists with a vantage point from which they are able to get
a more inclusive, less isolated view of art music, and see the wider musical world in
perspective; and in what ways his compositions have helped to integrate the guitar into the
ambit of art music.
There is little literature on Dodgson's work, including his writing for the guitar,
other than a small number of magazine articles and a handful of essays by Dodgson himself.
Therefore an ancillary aim of this dissertation is to conduct a survey of Dodgson's guitar
music, and to discover the essential characteristics of his musical language, coupled with
a demonstration of how his guitar works have been representative of his musical language
throughout his career as a composer. It examines his background, and in what sense it
prepares him as an innovative guitar composer; the reason he writes for the guitar, and how
he regards and uses it; his works for solo guitar; what he has contributed to teaching
materials for guitarists; his approach to the guitar in combination with other instruments,
in the context of concertos, massed guitar groups and other ensembles; and how he
combines the guitar with the voice.
The dissertation draws from the articles and essays, from the results of a series of
interviews with the composer and guitarists with whom he has collaborated, and from
detailed scrutiny of selected scores.
Introduction
Chapter 1 Stephen Dodgson's background and life
Deciding to become a musician
The family background
Childhood
First moves and the Royal College of Music
Italy
The early years
Introduction to the guitar
Involvement in the world of the harpsichord, fIlm, radio, and education
Appointment at the Royal College of Music and the later years
Chapter 2 Stephen Dodgson's musical language
Musical purpose
The composer in the community
The question of self expression
Searching for originality and experimentalism
Modernist trends, and influences
The compositional process
Melody and the use of motifs
Harmony and tonality
Use of rhythm
Rhythm versus metre
FOIm
Chapter 3 Stephen Dodgson's approach to the guitar
Why Dodgson writes for the guitar
How Dodgson regards the guitar
How Dodgson uses the guitar
Co llaboration
1
1
1
2
4
6
6
9
11
13
15
16
18
19
22
25
33
39
44
48
59
60
60
63
The characteristics of the guitar
Arpeggios 65
Parallelism 65
Resonance 66
Open strings 66
Rapid decay 66
Handling the guitar's characteristics 66
Textrrre 72
TechrUques 75
The relationship of Dodgson's guitar compositions with the rest of his output 75
Chapter 4 Didactic material
Collaboration with Hector Quine
Collaboration with Richard Wright
Chapter 5 Solo guitar works
Form
Harmony
Overview of Merlin
Reading the distribution tables relating to Merlin
Featrrre List for Merlin sections A, A' and A"
Syntagmatic analysis of Merlin, sections A, A' and A"
Distribution table for Merlin sections A, A' and A"
Featrrre List for Merlin sections B, B' and B"
Syntagmatic analysis of Merlin, section B
Syntagmatic analysis of Merlin, section B'
Syntagmatic analysis of Merlin, section B"
Distribution table for Merlin section B
Distribution table for Merlin section B'
Distribution table for Merlin section B"
Harmonic overview of Merlin, section A
Harmonic overview of Merlin, section A'
Harmonic overview of Merlin, section A"
Conclusion of chapter
76
88
93
97
97
99
100
103
104
105
106
108
109
111
112
113
114
115
118
121
124
Chapter 6 Guitar concertos and duo concertos
The influence of Andres Segovia 125
Commissions 127
Dodgson's approach to the guitar concerto 128
The question of balance 129
Instrumentation and orchestration 131
Feature List for Concerto for Guitar and Chamber Orchestra No.2
(opening section) 134
Syntagmatic analysis of Concerto for Guitar and Chamber Orchestra No. 2
Distribution table for Concerto for Guitar and Chamber Orchestra No. 2
Examination of motivic transformation in
Concerto for Guitar and Chamber Orchestra No.2 (opening section) 140
Chapter 7 The guitar in ensemble
The trio and the duets
Works that include massed guitars
The guitar in combination with other instruments
The influence of Debussy
The use of the guitar in ensemble
Feature List for Duo Concertante (final section)
Syntagmatic analysis of Duo Concertante (final section)
Distribution table for Duo Concertante (final section)
Examination of the distribution of motivic types in
Duo Concertante (final section)
Conclusion of chapter
Chapter 8 Guitar and voice
Commissions and the choice of poems
Vocal characteristics
The developing characteristics of the guitar writing
Common factors
The transition from baryton to guitar
Chapter 9 Summary and conclusions
145
146
153
153
155
160
161
162
163
166
167
168
170
172
175
179
182
APPENDIX 1: Tables
Table 1.1 First broadcast performances of Stephen
Dodgson's works during the years 1951 - 1960.
Table 1.2 First public performances of Stephen
Dodgson's works during the years 1952 - 1960.
Table 1.3 A sample of Stephen Dodgson's commissions since
he was appointed professor of composition and
harmony at the Royal College of Music in 1965.
Table 5.1 Commissions and known first performances
of Stephen Dodgson's solo guitar works.
Table 5.2 Principal data relating to Stephen Dodgson's solo guitar works.
Table 6.1 Instrumentation of the four Dodgson concertos that include guitar.
Table 6.2 Principal features of the four
Dodgson concertos that include guitar.
Table 7.1 Features of Stephen Dodgson's
works for guitar trio and guitar duet.
Table 7.2 Features of Stephen Dodgson's works
which include massed guitars
Table 7.3 Commissions and known first performances of
Stephen Dodgson's chamber music which includes guitar.
Table 7.4 Principal characteristics of chamber work
by Stephen Dodgson that include the guitar.
Table 8 Principal characteristics of Dodgson's works for voice and guitar.
APPENDIX 2
Semiotic Analysis Segmentation
First paradigmatic analysis of Merlin, section A (bars 1 - 14)
Second paradigmatic analysis of Merlin, section A (bars 1 - 14)
Second paradigmatic analysis of Merlin, section A' (bars 111 - 130)
Second paradigmatic analysis of Merlin, section A" (bars 390 - 415)
Second paradigmatic analysis of Merlin, section B (bars 15 - 110)
Second paradigmatic analysis of Merlin, section B' (bars 131 - 389)
Second paradigmatic analysis of Merlin, section B" (bars 416 - 449)
187
188
189
192
193
194
195
196
197
198
199
200
201
202
203
204
205
208
218
Second paradigmatic analysis of Concerto No.2, (opening section) (bars 1 - 159) 220
Second paradigmatic analysis of Duo Concertante,
(final section) (bars 296 - 344)
231
APPENDIX 3 List of works Up to the present date
Chronological
Chronological list of all works including guitar
Solo guitar
Studies and teaching material for guitar
Concertos that include the guitar
Chamber music that includes guitar
Two, three and four guitars
Music that includes guitar ensemble
Lute
Harpsichord
Solo piano and piano duet
Harp
Solo voices
Chorus
Brass
Woodwind
Wind Orchestra and larger wind ensembles
Solo strings/chamber music for strings
Orchestral music
APPENDIX 4 Film and radio play scores
Titles, dates, and other relevant information regarding the scores
APPENDIX 5 Recordings of music composed by Stephen Dodgson
Including guitars:
Solo guitar
Concertos
Guitar duet
Guitar trio
Guitar ensemble
Chamber music which includes guitar
Voice and guitar
Not including guitars
GLOSSARY
BIBLIOGRAPHY
239
246
248
249
249
250
250
251
251
252
254
255
256
260
264
266
269
271
274
277
279
280
281
281
282
282
283
284
288
289
Ex. 2.1
Ex. 2.2
Ex. 2.3
Ex. 2.4
Ex. 2.5
Ex. 2.6
Ex. 2.7
Ex. 2.8
Ex. 2.9
Ex. 2.10
Ex. 2.11
Ex. 2.12
Ex. 2.13
Ex. 2.14
Ex. 2.15
Ex. 2.16
Ex. 2.17
Ex. 2.18
Ex. 2.19
Ex. 2.20
Ex. 2.21
Ex. 2.22
Ex. 2.23
List of Music Examples and Figure
Words Fail! from On The Overgrown Path, Leos Janacek, bars 1 - 3.
Intimate Letters, Leos Janacek, 4th movement, bars 224 - 225.
The Barn Owl Has Not Flown Away from On The Overgrown Path,
Leos Janacek, bars 3 - 6.
Bagatelles for four clarinets, Stephen Dodgson, 1 st movement, bars 9 - 14.
Bagatelles for four clarinets, Stephen Dodgson, 3
rd
movement, bars 1 - 4.
Bagatelles for four clarinets, Stephen Dodgson, 3
rd
String Quartet No.1, Stephen Dodgson, 1 st movement, bars 1 - 4.
String Quartet No.1, Stephen Dodgson, 1 st movement, bars 19 - 23.
String Quartet No.1, Stephen Dodgson, 2
nd
movement, fig. 47 + 1
Thistledown 1 from Four Poems of Mary Coleridge, Stephen Dodgson.
Flute, bars 1 - 3.
Flute, bars 23 - 26.
Flute, bar 59.
Flute, bars 7 - 14.
Flute, bar 34.
Flute, bar 38.
Five Occasional Pieces for Flute and Piano, Stephen Dodgson,
1 st movement, bars 1 - 5.
Five Occasional Pieces for Flute and Piano, Stephen Dodgson.
Flute, 5
th
Chart depicting the thematic relationship which unites the movements of Piano
Sonata No. 4
Piano Sonata No.6 1st movt., Stephen Dodgson, bars 42 - 47.
Piano Sonata No. 4 Final movt., Stephen Dodgson, last 5 bars.
Carillonfor Two Harpsichords, Stephen Dodgson, bars 65 -71.
Ex. 2.24
Ex. 2.25
Ex. 2.26
Ex. 2.27
Ex. 2.28
Ex. 2.29
Ex. 2.30
Ex. 2.31
Ex. 2.32
Ex. 2.33
Ex. 2.34
Ex. 2.35
Ex. 2.36
Ex. 2.37
Ex. 2.38
Ex. 2.39
Ex. 2.40
Ex. 2.41
Ex. 2.42
Ex. 2.43
Fig. 3.1
Ex. 3.1
Ex. 3.2
Ex. 3.3
Ex. 3.4
Ex. 3.5
Ex. 3.6
Wayzgoose, B b trumpets, bar 1.
Wayzgoose, the last of five pieces that form Bandwagon: Five Occasional Pieces
for Wind Orchestra, Stephen Dodgson, bars 29 - 31.
Sonatafor Violin and Piano Sonata 1st movt., Stephen Dodgson, bars 62 - 89.
Sonatafor Violin and Piano Sonata 3
rd
movt., Stephen Dodgson, bars 34 - 38.
No. 5 of Five Occasional Pieces for Flute and Piano, Stephen Dodgson,
bars 44 - 57.
No. 3 of Five Occasional Pieces for Flute and Piano, Stephen Dodgson,
bars 1 - 12.
Dialogue, No.2 from Five Occasional Pieces for Cello and Piano,
Stephen Dodgson, bars 1 - 11.
Concerto for Flute and Strings, Stephen Dodgson. Flute, 1
st
movement,
bars 1 - 3.
Concerto for Flute and Strings, 2nd movement, Stephen Dodgson. Flute, bar 1.
Concerto for Flute and Strings, 2nd movement, Stephen Dodgson.
Strings, bars 16 - 20.
Piano Sonata No.1, pI movement, Stephen Dodgson, bars 1 - 4.
Piano Sonata No.1, pt movement, Stephen Dodgson, bars 22 - 24.
Piano Sonata No.1, pf movement, Stephen Dodgson, bars 32 & 33.
Piano Sonata No.1, 2
nd
movement, Stephen Dodgson, opening bar.
Piano Sonata No.1, 2nd movement, Stephen Dodgson, bars 15 - 17.
Sonata-Divisions, Part One, Stephen Dodgson, bars 14 - 22.
Sonata-Divisions, Part One, Stephen Dodgson, bars 118 - 123.
Piano Sonata No.3, Part One, Stephen Dodgson, first section.
Piano Sonata No.3, Part Two, Stephen Dodgson, bars 20 - 25.
Piano Sonata No.3, Part Three, Stephen Dodgson, bars 1 - 11.
Guitar fingerboard chart
Partita No.1, 4th movt., Stephen Dodgson, bars 3 & 4, and 94 - 96.
./
Ode to the Guitar No.6, Stephen Dodgson, bars 38 - 42.
Quintet for Guitar and String Quartet pI movl., Stephen Dodgson.
Guitar, bar 9.
Ode to the Guitar No.1, Stephen Dodgson, bars 20 & 21.
Ex. 3.7
Ex. 3.8
Ex. 3.9
Ex. 3.10
Ex. 3.11
Ex. 3.12
Ex. 3.13
Ex. 3.14
Ex. 3.15
Ex. 3.16
Ex. 3.17
Ex. 3.18
Ex. 4.1
Ex. 4.2
Ex. 4.3
Ex. 4.4
Ex. 4.5
Ex. 4.6
Ex. 4.7
Ex. 4.8
Ex. 4.9
Ex. 4.10
Ex. 4.11
Ex. 4.12
Ex. 4.13
Ex. 4.14
Ex. 4.15
Ex. 4.16
Ex. 5.1
Ex. 5.2
Ode to the Guitar No.1, Stephen o d g s o ~ bars 27 & 28.
Ode to the Guitar No.9, Stephen Dodgson, bar 41.
Ode to the Guitar No.9, Stephen o d g s o ~ bars 27 - 29.
Ode to the Guitar No.4, Stephen o d g s o ~ bars 35 & 36.
Partita No.1, 4th movt., Stephen Dodgson, bars 1 - 6.
Partita No.1 3
rd
movt., Stephen Dodgson, bars 1 - 4.
Ode to the Guitar No. 10, Stephen Dodgson, bars 16 - 18.
P artita No. 1 )St movt., Stephen Dodgson, final bar.
Study in A Major, Dionisio Aguado, bars 1 - 4.
Study in A Minor, Mauro Giuliani, bars 1 - 4.
Etude in D Major, from 25 Etudes de Genre Op. 38., Napoleon Coste, bars 1 - 8.
El Abejorro - Estudio, Emilio Pujol, bars 1 - 4.
Study No.7 inA Minor, from 25 Melodic and Progressive Studies Op. 60., Matteo
Carcassi, bars 1 - 4.
Study in A Major, Ferdinand CamHi, bars 1 - 4.
Study in B Minor, Fernando Sor, bars 1 - 8.
Technical Exercise No.9 (Higher Grade), Luise Walker, bars 1 - 4.
Study No.6, from Studies for Guitar, Stephen Dodgson and Hector Quine,
bars 1 - 3.
Study No.1, from 12 Introductory Studies for Guitar, Stephen Dodgson and
Hector Quine, bars 1 - 4.
Interlude (Summer Daydream), Stephen Dodgson, bars 1 - 5.
Interlude (Summer Daydream), Stephen o d g s o ~ bars 43 - 44.
Pastor Fido, Stephen Dodgson, bars 1 - 7.
Beachcomber, Stephen Dodgson, bars 1 - 10.
Partita No.1, 4th movt. Stephen Dodgson, bars 1 - 6.
Notation showing that the chords occupying each of the fIrst six bars of Partita
No.1, 4th movt. contain the notes formed from a column of fourths.
~ x . 5.3
~ x . 5.4
~ x . 5.5
~ x . 5.6
~ x . 5 . 7
:x.5.8
:x.6.1
~ x . 6.2
~ x . 6.3
~ x . 7.1
~ x . 8.1
:x.8.2
:x.8.3
:x.8.4
:x.8.5
:x.8.6a
:x. 8.6b
:x. 8.7
:x. 8.8
~ x . 8.9
~ x . 8.10
~ x . 8.11
~ x . 8.12
Five harmonic 'landmarks' taken from the introduction in Merlin.
The five chords taken from the introduction in Merlin viewed from the perspective
of tertiary harmony.
The chords seen in Ex. 4.4 rearranged as a circle of fifths, revealing them as
quartal structures.
Merlin, Stephen Dodgson, bars 1 - 14.
Showing constituent pitches vertically aligned, and fundamental structure.
Guitar Concerto No.2, 3rd movement, Stephen Dodgson, bars 73 - 77.
Guitar Concerto No.2, 2nd movement, Stephen Dodgson.
Trombones, bars 24 - 27.
Guitar Concerto No.2, 1st movement, Stephen Dodgson. Guitar, bars 26 - 29.
Duo Concertante, Stephen Dodgson, bars 329 - 332.
The Peasant Poet, 2
nd
in a set of Four Poems of John Clare, Stephen Dodgson,
bars 15 - 18.
Daphne to Apollo, Stephen Dodgson, bars 16 - 27.
Trotty Wagtail, 1
st
bars 22 - 24.
From a Ship Tossing, 3
rd
in a set of five London Lyrics, Stephen Dodgson,
bars 76 - 80.
From a Ship Tossing, 3
rd
in a set of five London Lyrics, Stephen Dodgson,
bars 58 - 61.
The practical result when ex. 9.2a is played as directed.
Shadwell Stair, 2
nd
in a set of five London Lyrics, Stephen Dodgson, bar 14.
The Fox, 4th in a set of Four Poems of John Clare, Stephen Dodgson,
bars 57 - 58.
Trotty Wagtail, 1 st in a set of Four Poems of John Clare, Stephen Dodgson,
bars 5 - 8.
Trotty Wagtail, 1
st
bars 39 - 40.
The Peasant Poet, 2
nd
bars 1 - 4.
x.8.13
x. 8.14
,x. 8.1S
~ x . 8.16
:x.8.17
~ x . 8.18
~ x . 8.19
~ x . 8.20
~ x . 8.21
~ x . 8.22
~ x . 8.23
Shadwell Stair, 2
nd
in a set of five London Lyrics, Stephen Dodgson, bars 39 - 42.
Trotty Wagtail, 1 st in a set ofF our Poems of John Clare, Stephen Dodgson, guitar,
bars 23 - 24.
Turkeys, 3
rd
in a set of Four Poems of John Clare, Stephen Dodgson, guitar,
bars 26 - 27.
London is a Milder Curse, 1 st in a set of five London Lyrics, Stephen Dodgson,
guitar, bars 13 - 14.
River Music (1967), Sth in a set of five London Lyrics, Stephen Dodgson, guitar,
bar 7S.
Daphne to Apollo, Stephen Dodgson, guitar, bar 128.
Daphne to Apollo, Stephen Dodgson, guitar, bars 108 - 109.
Daphne to Apollo, Stephen Dodgson, guitar, bar 31.
Daphne to Apollo, for soprano and baryton, Stephen Dodgson, [mal four bars.
Daphne to Apollo, for soprano and guitar, Stephen Dodgson, final four bars.
Introduction
Until the latter part of the twentieth century, the guitar occupied a rather separate world
from the mainstream of musical society. That was partly because (prior to the advent of
electronic amplification) the guitar's relative quietness made it difficult to hear in an
orchestral setting, but the reasons run far deeper than that. The instrument's enduring
appeal has always centred upon its self-contained nature, the guitar being effectively a
miniature portable orchestra, capable of strumming out a dance rhythm, providing
harmonies for a singer, or simultaneously playing a melody and accompaniment. However
this strength was also its weakness, its self-sufficiency consigning it to something of a
cultural ghetto, where it developed a repertoire in parallel to (but almost entirely separate
from) the musical mainstream.
Consequently, the great majority of composers for the guitar have also been dedicated
players of the instrument. This was especially true prior to the late eighteenth century,
because until then, all guitar music had been notated in tablature that indicated finger
positions rather than pitches, and was comprehensible only to performers; but even after the
widespread adoption of staff notation during the 1770s,
1
very few mainstream composers
contributed to the instrument's repertoire, either solo or ensemble. While unfamiliarity may
have been partly to blame, the instrument's low status also played a large part, it being
generally regarded either as a peasant instrument, or (in certain periods) as a fashionable
novelty favoured by dilettante aristocrats. And because guitar specialists tended to learn
their craft from each other, rather than by studying formally in music colleges, their
inspiration as composers came largely from traditional forms and from folk music, so the
repertoire they created bore few (if any) signs of the advances in musical thought made by
such major composers as Bach or Mozart.
During the nineteenth century (by which time the delicate double stringed baroque guitar
had evolved into a more powerful instrument with six high-tension single strings), a handful
of guitar-composers sought to bring their instrument closer to the musical mainstream.
Fernando Sor (1778 - 1839) and Mauro Giuliani (1791 - 1829) introduced classical
structures such as sonata form into their compositions, wrote in a style that was
recognisably similar to the language of Haydn and Beethoven, and (in the case of Giuliani)
experimented with using the guitar as part of a chamber ensemble, alongside bowed strings
or woodwind instruments. Later in the century, once Torres had created the modem guitar
1 Paul Sparks, The Guitar and its Music from the Renaissance to 'he Classical Era (Oxford: Oxford Univen;ity Press, 1995), pp. 200 - 204.
ii
and given it a more authoritatively Romantic tone/ Francisco Tarrega (1854 - 1909)
took full advantage of its increased sonority to create a new Romantic repertoire. Not only
did he compose a large number of high-quality pieces (in a style that showed a particular
awareness of the piano works of Chopin), he also transcribed compositions by such classical
and romantic masters as Beethoven and Albeniz, in ways that exploited the guitar's newly-
acquired strengths to the full.
3
During the twentieth century, many of the most successful guitar-composers turned to
native idioms from their own countries for inspiration. Miguel Llobet (1878 - 1938) was
a pupil ofTarrega, and as well as contributing his own compositions to the guitar
he spent many years arranging a collection of Catalan folk: Diez canciones populares
catalanas (1899 - 1918). The Paraguayan guitarist Agustin Barrios Mangore (1885 - 1944)
combined the panache of the music of his homeland with the sophistication of his
predecessors Sor and Tarrega. The Cuban Leo Brouwer (b. 1939) has combined his native
island's rhythms and melodies with his knowledge of European avant-garde music, together
with a guitarist's understanding of the sonorities and patterns that work most effectively on
his instrument. The Ukrainian Stephan Rak (b. 1945) has drawn similar inspiration from
the folk: music of Eastern Europe. Carlos Domeniconi (b. 1947) although he comes from
Italy, has brought Turkish idioms to his guitar compositions, reflecting the influence of his
time as a professor of guitar in Istanbul. Roland Dyens (b. 1955) bears the influence of his
native Tunisia, and the compositional style of the Russian guitarist Nikita Koshkin (b. 1956)
contains elements of the post-Stravinsky Russian composers, notably Shostakovich and
Prokofiev. What links all these diverse musicians is their intimate knowledge of the guitar
and its traditions, enabling them to utilize the instrument to brilliant effect by customising
their compositions to allow for its strengths and compensate for its weaknesses.
One of the defining characteristics of this rather separate world, within which guitarists
have traditionally been segregated, is that successive generations of guitar students have
long been inculcated with a 'programme of by their teachers and peers, which
inevitably colours and influences the textures of their compositions. The guitarist tends to
assume certain chord configurations almost automatically; the use of the apoyando
to maximise sonority of tone, has physical implications which give rise to musical ones;
whilst arpeggio patterns are routinely relied upon to compensate for an absence of
2 See Chapter 3.
3 Gnwfeld, The Art and Times of the Guitar, pp. 284 - 290.
III
sustaining properties. That conditioning influences the guitarist's compositions, and then
s/he in tum passes it on, which makes the status, musical value, and musical identity of the
guitar difficult to defme. The guitarist Roy Brewer wrote in 1986:
The guitar is an instrument searching for an identity. Its historical roots are strong but
do not always feed the new flowering .... Weare, to a large extent, rediscovering the
guitar and still creating a modem technique for playing it. In doing so it is inevitable
that some people either want it to be what it is not, or do not know what it is.4
There are a number of examples of composers who are not guitarists having written a single
work, or a small number of works for the guitar, such as Manuel de Falla, Frank Martin,
William Walton, Goffredo Petrassi, Michael Tippett, Alan Rawsthorne, Benjamin Britten,
Hans Werner Henze and Peter Sculthorpe, but one of the few reputable non-guitarist
composers to write prolifically and consistently for the guitar throughout his career, is
Stephen Dodgson. He has approached the guitar innocently, unencumbered by schooling
and pre-suppositions: the 'programme of expectation' that guitarists, if they are even aware
of it, find so difficult to shed. When he came to the guitar, Dodgson brought with him a
fresh and unprejudiced view of the instrument and its possibilities, and an aim of this
dissertation is to examine his guitar music to determine the extent to which it reveals the
guitar's identity, or helps to provide it with one; in what way his compositions have helped
to integrate the guitar into the ambit of art music; and the extent to which his writing
provides a vantage point from which guitarists are able to get a more inclusive, expansive
and panoramic view of music, and see the wider musical world in perspective.
Viewed through the guitar works of Stephen Dodgson, that perspective is undistorted by
the influence of fashion. A guitarist tracing a line through Dodgson's compositions for the
guitar is not taken on a tour of the various trends that have impinged upon music during his
lifetime, because whilst Dodgson is not indifferent to them, he has not followed them.
Conversely, although his writing has remained consistent from the beginning, it is not
characterized by an unquestioning adherence to tradition; nor will the view be skewed by
any trace of sentimentality or exaggeration of expression.
Dodgson could be described as a multi-specialist composer, working in a number of
parallel fields, in which none of the participants is particularly conscious of his other areas
of interest. Harpsichordists regard him as a harpsichord composer:
Dodgson has earned a place in 20
th
-century harpsichord history and he has probably
the longest and most productive association with the harpsichord of any living
4 Roy Brewer, A Guitarist's Notebook (Oxford: Oxford University Press, 1986), p. 2.
iv
composer. His affinity with the instrument has been nurtured by the developments
in the harpsichord world over the last forty years, and his output now comprises 49
works, both solo and ensemble. In my capacity as a harpsichordist and performer of
contemporary music, I regard Dodgson as a singularly gifted champion of the
harpsichord whose works should have wider recognition. His strength of feeling for
the instrument produces writing that is wholly idiomatic; his economy of line, clarity
of voicing, control of texture, and dynamic rhythmic treatment are always expressed
in ways that bring the harpsichord to life.
5
The harpist Maria Korchinska (1895 - 1979) was a staunch supporter of Dodgson, and a
keen advocate of his works for harp, encouraging all her pupils learn his works for solo
harp.
6
Recorder players know him as a composer of' several works of the utmost distinction
for the recorder'.
7
Choirs are familiar with his name through his work in the choral
tradition:
The prospect of learning anything in the modem repertoire can daunt the best of
choirs, but a work such as his [Dodgson's] Te Deum, although by no means without
its difficulties, is "as satisfying to rehearse as to perform".
8
Solo vocalists know him for his works for solo voice paired with an ensemble or orchestra:
'Vocal works such as the Last of the Leaves display great sensitivity in word-setting,.9
Members of the National Youth Wind Orchestra of Great Britain know him as their
Chairman, and as the composer of a number of works for wind orchestra such as
Bandwagon (1992).10 Guitarists know him as a composer for the guitar, and indeed it is
often assumed that he must be a guitarist himself. 11
There is little literature on Dodgson's work in respect of anyone of these specialisms,
including guitar, other than a small number of magazine articles and a handful of essays by
Dodgson himself Therefore an ancillary aim of this dissertation is to conduct a survey of
Dodgson's guitar music, and to discover the essential characteristics of his musical
language, coupled with a demonstration of how his guitar works have been representative
of his musical language throughout his career as a composer. It examines why he writes for
the guitar, and how he regards and uses it; what he has contributed to teaching materials for
guitarists; his approach to the guitar in combination with other instruments, in the context
of concertos, massed guitar groups and other ensembles; and how he combines the guitar
with the voice.
5 Pamela Nash, 'An Jnterviewwith Stephen Dodgson', The Diapason, 92 No. 10 (October 2001), 15-19 (p. 15).
6 Stephen Dodgson, interview with John Mackenzie, 8th December 1998.
7 Recorder soloist John Turner, in a letter to John Mackenzie, January 2003.
8 Malcolm Crowthers, 'Composers of Today', Performer (August 1981),27-30 (p. 30).
9 Malcolm Miller, The New Grove Dictionary ofMlISic and MlISicians, ed by Stanley Sadie, 2nd edn, 24 vols (London: Macmillan Publishers
Ltd, 2001). VII. 420 -421.
10 Ibid.
11 e.g. he was described as "the English guitarist and composer" in the Quarterly Journal of the Music Library Association.
Peter A. Bloom, , Music Reviews: Ensemble and solo instnunental music', NOles, 32 (1975), 138-147 (p.145).
1
CHAPTER 1
Stephen Dodgson's background and life
Deciding to become a musician
When Stephen Dodgson was a young man of eighteen he was conscripted into the Royal
Navy. It was the summer of 1942 and he had left Stowe School only three weeks earlier.
The war effort demanded that no time was wasted. First he was in Coastal Forces on the
east coast out of Lowest oft. This was followed by a much longer period engaged in anti-
submarine warfare on the Atlantic between the British Isles and Newfoundland, and Iceland
and the Iceland Gap, spending a lot of time between Iceland and Northern Scotland, where
it "never got light, never stopped raining, and never stopped blowing a gale". I And finally
he helped to provide anti-submarine support for the invasion. He always served on small
ships (the ship on which he spent most time was the American-built H.M.S. Bentley),
without bands or other forms of music making, and there was no opportunity to hear music.
2
This enforced abstention from music may have contributed to the strength of his
reaction when he heard one of the first performances of Benjamin Britten's Peter Grimes
when he had a few days shore leave at just the right moment. He admired the immediacy
of the music: the strength of ideas and the absence of complication for its own sake. Over
twenty years later that reaction vividly came back to him whenever he heard any music from
the opera? Although he considered his own musical efforts "primitive" at the time,4 it was
during his time in the Navy that he knew he wanted "to give it a try, that is, being a
musician".
5
The family background
The two branches of young Stephen's family may have had different attitudes regarding his
participation in the war. His paternal grandfather was a military man. Captain Heathfield
Butler Dodgson DSO of the South African Remounts, Royal Horse Artillery, had fought in
India and South Africa, and in 1900, aged 27, was present at the Siege of Mafeking.
Heathfield's father was a stockbroker, and his father-in-law was Hon John Vivian, at one
time Secretary of State for War. On the other hand Stephen's maternal grandfather, who
came from Darlington, was a member of the Pease family who were bankers and prominent
1 Stephen Dodgson, inteJView with John Mackenzie, 24th March 1999.
2 Timothy Walker, 'Stephen Dodgson in conversation with Timothy Walker', SOUNDBOARD, Winter (1991), 13-21 (p. 14).
3 Transcript of talk given at the British InstiMe of Recorded Sowui, January 30th 1969.
4 Walker, in Conversation with Stephen Dodgson, p. 14.
5 Ibid
2
Quakers in the North. His maternal grandmother "was obviously musical and played the
violin".6
Stephen's mother, Margaret Valentine Pease was also musical/ although there was
hereditary deafness in the family and she was isolated all her life by her poor hearing. She
was also a keen artist, and attended Slade School of Art where she met Stephen's father,
John Dodgson. John had been educated at Eton and Oxford, and in spite of having a focal
range of about six inches (he was turned down for the army eight times because of his poor
sight) he became Assistant to the Director of the National Gallery in 1919 and went on to
become a prominent Symbolist painter.
8
The art critic Victor Pasmore cited his paintings
Orley Farm; Death of a Child and Visit to Lucca as 'masterpieces in the tradition of
symbolism'.9 John and Val (she was known by the shortened form of her middle name)
married in 1916. John served with the Royal Army Service Corps, which traditionally took
men otherwise ineligible for active service because of disability, until the end of the war.
In 1920 their first daughter, Ann, was born, followed by Sarah in 1921. Stephen Cuthbert
Vivian Dodgson was born in London on 17
th
March 1924 at the family home, 68 Chelsea
Park Gardens SW3.
Childhood
He started to write music when he was a small child "as very small children do when they
first listen to a piano or something, at the age of 8 or 9".]0 It was at this time, in 1933, that
the family went to live in Berkhamstead, and after elementary School, Stephen went to
Berkhamstead SchooL The family subsequently moved to a cottage in Flamstead in
Hertfordshire, which became the family home throughout the war, although the Dodgsons
acquired 12 Edith Grove, Chelsea, a late Victorian house, in the late thirties, a few years
after his paternal grandparents' death.
He entered Stowe School in 1937. His father had also put Stephen's name down for
Eton College, but noted that "since my prospects of being able to afford to send him there
are small, I think I must put his name down for another good school as well".I] The
application form that John Dodgson completed noted that "It is probable that on leaving
6 Walker, In Conversation with Stephen Dodgson, p. 14.
7 Ibid.
8 Jenny Pery, John Dodgson: Paintings and Drawings (London: The Elephant Trust. 1995), passim.
9 As the author of the introduction to John Dodgson: Paintings and Drawings.
11 In a letter to Stowe School, 12th November 1927.
3
Stowe he [Stephen] will wish to enter Oxford",I2 a probability which turned into an
impossibility because of the war. The Head of Music, Dr. Leslie Huggins, was assisted by
Alfred Negus who taught Stephen the piano. lona Radice taught him music theory; he
studied viola with Mr. L. Blofield, who came in from Oxford, and the horn, which was very
much his principal instrument, with a military bandmaster. He served in the Junior Training
corps rising to the rank of Sergeant, and was treasurer of the Debating Society. However,
it was in music that he excelled, and his articles in The Stoic, the magazine of Stowe
School, hint at his future roles as a journalist and BBC reviewer:
... the Choral Society, with the aid of the orchestra, performed Bach's "Peasant
Cantata." This is being re-attempted, and should be a success, if only the performers
would realize that it is a thoroughly light-hearted work and not merely another
drudgery of Friday mornings. In addition the Choral Society is attempting Purcell's
"Masque ofDioclesian." This, again, is secular music of a light vein, and it too will
fmd success once its mood has been captured. 13
... Jarnefelt's "Praeludium" makes the last addition to the repertoire; its effect is lost
or made, more than in many works, in the precision with which it is played, and once
this precision is attained there will be no doubt of the success of this little
masterpiece. 14
... the chief work of the evening was Brahms' sonata for clarinet and piano. Even
though it may not lie among Brahms' finest work, it was, nevertheless, given an
exquisite performance. It was delightful to hear a clarinet-player who played so
unobtrusively; the performance was never laboured, and the tone was always perfectly
controlled. Mr. Paul then played "Prelude, Aria and Finale" by Cesar Franck, which,
though perhaps a tedious work, was given justice. 15
... In spite of its many difficulties, the orchestra is tackling an extensive programme
with considerable vigour; had it the same finesse, there would remain little doubt as
to its success, but it is at present just this lack of precision that offers a considerable
hindrance to any exciting performance. Haydn's "London Symphony" is of a light
and delicate texture, and the brass in particular must realize this, for all the life and
charm of Haydn's work is to be found in its lightness and delicacy.16
... Mozart's overture to "The Magic Flute" and Warlock's suite "Capriol" are also to
be played. The electrical brilliance of the former and the unmistakable charm of the
latter are both not yet sufficiently apparent. Improvement all round, however, is
steady, and the future looks promising.
17
12 Form of entry completed 23rd November 1927.
13 Stephen Dodgson,'Music', The Stoic, 10 (April 1942), 67.
14 Ibid
15 Ibid.
16 Stephen Dodgson,'Music', The Stoic, 10 (July 1942),112.
17 Ibid
4
'" The Choral Society is attempting some of Vaughan Williams' "Windsor Forest",
which should prove very effective, if only members would realize the different moods
of the individual sections. It is music of power and intimacy at the same time; and
it is to be feared and hoped that if these are latent qualities in the Choral Society they
will become apparent before the concert.
IS
The content of contemporary copies of The Stoic, including Stephen Dodgson's
contributions, remind the reader of the extent to which life was disrupted in the war years:
.... Music seems to suffer more than most things as each new tax is put upon our
leisure. This has made it practically impossible to find suitable times at which to hold
practices, both for the orchestra and for the Choral Society, and even those that have
been selected are meagrely attended owing to encroachments.]
9
.... The Sunday concerts, owing to various difficulties and shortcomings, have not
upheld their former high standard, although there have been isolated excellent
performances among them.
20
Dodgson left Stowe with a Higher School Certificate in July 1942. He continued to support
the school, sending his first cheque on 25th July 1946. However he held back from entering
a formal covenant, because, he said, "my income is a thing of too many unforeseen
variations".21
First moves and the Royal College of Music
He was discharged from the Navy in the summer of 1946 and settled at 12 Edith Grove,
which his family had moved into in September 1945. He felt he was "completely
ignorant",22 and was determined to do something about it. As well as working very hard at
the hom, he sent some compositions to various people whom he felt they might possibly
interest. One of them was the composer Bernard Stevens, who spent the next year giving
Stephen "valuable lessons in composition as a private student".23
He entered the Royal College of Music in 1947. Like the other music colleges of the
time, the Royal College was under tremendous pressure, because there were many students
in Stephen Dodgson's position, who had been unable to start at the usual age because of the
war as well as the usual intake of school-Ieavers. It made for an exciting environment, but
,
also meant that students were encouraged to leave as quickly as possible. "It was short and
sharp and probably inadequate, but it's a bigger mistake for a student to study longer than
IS Stephen Dodgson:Music', The Stoic, 10 (July 1942), 112.
19 Stephen Dodgson, The Stoic, ]0 (April 1942), 67.
20 Stephen Dodgson, The Stoic, 10 (July 1942), 112.
21 Letter to Stowe School, 25th July 1946.
22 Stephen Dodgson, interview with John Mack.enzie, 24th March 1999.
23 Ibid
5
necessary than less long than necessary".24
12 Edith Grove was within walking distance of the College, so Dodgson was able to
live with his parents. He played the hom at the entrance examination and was accepted to
study it as his first instrument. His intention was to become a capable hom player, and learn
what he could about composition. He studied the hom with Frank Probyn and music theory
with Reginald Owen Morris (always known as R.O. Morris). Dodgson always felt that R.O.
Morris didn't like teaching composition; that it wasn't defined enough for him:
He felt at sea. 1 wrote a wind trio and brought two other students into R.O. Morris's
room to play it for him, but he would have much rather 1 hadn't. Not that he didn't
want to hear it, but he didn't want to comment on it.
25
R.O. Morris taught music according to the contrapuntist tenets of Thomas Morley in his
"Plaine and Easie Introduction to Practicall Music/ce" (1597) - in the old manner ''which''
Stephen Dodgson observes "I suppose in some ways has never been improved upon,,?6 He
later studied composition with Patrick Hadley. Hadley lived in Cambridge, and was rather
old and infirm by the time Stephen Dodgson encountered him: "he was rather vague as a
teacher, being sparing with the amount of detail he gave, but his bigger observations were
good".27 The twelve tone system of composition was in vogue at this time, and Dodgson
took an interest in it, but "always got bored with it". 28
1 grew away from it. 1 found that it somehow impedes rhythmic interest. 1 can't think
of any serial music which is really terribly interesting rhythmically. There's
something about the application of a system like that that is destructive of energy. All
those twelve semitones struggling for their due place in order, somehow inhibits
energy. 1 think that was what led me away from it.
29
He found a greater influence was twelve tone music as it is found in composers who are not
twelve tone composers. Hindemith especially, as well as Bart6k - his violin concerto for
instance.
Dodgson won the Royal College of Music Corbett Memorial Prize in 1948 for a
(specified) Fantasy String Quartet. Working on the piece helped to make him realise that
among other things, composition is a matter of practicalities. Looking at the parts, he
noticed that in the viola part at one point the player had written in heavy pencil ' ... not the
24 Stephen Dodgson, interview with John Mackenzie, 24th March 1999.
25 Ibid
26 Ibid
27 Ibid
28 Walker, In COIrversatiun with Stephen Dodgson, p. 14.
29 Stephen Dodgson, intemew with John Mackenzie, 8th December 1998.
6
tune'.
The player didn't know I would take this to heart as a permanent caution. However
recondite the thought, clarity of intention is paramount. Your notes should not make
it possible for him to suffer this sort of confusion. I think I'm still trying to learn this
lesson now.
30
In 1949 he won the Royal Phi1harmonic Society Prize for Variations/or Orchestra, and on
the point of leaving the Royal College that year he won the Octavia Travelling Scholarship
for a portfolio of scores that included a choral work which would later form the last section
of The Soul's Progress. The scholarship took the form of a sum of money, and it provided
a breathing space for reflection.
Italy
That reflection was to take place in Italy. Dodgson stayed at the British School in Rome,
a historical Institute modelled on the long-established French Academy in Rome, which also
provided for winners of prizes in painting, architecture and classical studies. He received
no tuition, but "heard a lot of music, wrote a lot of music, and looked at everything".31
He also worked on his hom playing ''thinking of the aftermath when I returned". 32 As well
as fmding the visit was "a tremendous education", he began to establish contacts with
Italian musicians, including Severino Gazelloni, the well-known flautist.
33
This was to be
the beginning of a long line of important contacts with outstanding musicians who were to
shape the course of his work as a composer.
The early years
He returned to London in the spring of 1950, and began to teach in schools, and lecture at
adult colleges, as well as some private teaching. He played the hom professionally only a
little, "but then other things took precedence; quite rightly!,,34 His first compositions on his
return from Italy were Taras Bulba, a romantic overture, and a setting of Ezra Pound's
Tideways - four songs for soprano and piano. In due course both would benefit from the
activities of the Society for the Promotion of New Music. However Taras Bulba was given
its first performance four years after it was written, and nearly six years elapsed before
Tideways was first performed under the auspices of the Society (see Table 1.2, Appendix
30 Stephen Dodgson: transcript of talk given at the Cheltenham Festival prior to a perfonnance by the Chilingirian Quartet. 15th July 1987.
31 Stephen Dodgson., interview with John Mackenzie, 24th March 1999.
32 Ibid
33 Ibid
7
1).
Meanwhile, his works had started to be heard on the BBC Third Programme. The first
broadcast was of his Sonata for Piano Duet, written in 1949, and was reviewed in the
Musical Times by W.R. Anderson. Anderson's reaction was ambivalent. He reported that
the sonata sounded 'dryish', and went on to make the broader point that he thought of the
young Dodgson (then twenty seven-years old) and his contemporaries as 'ships that pass in
the night ... [to whom] I wave goodwill', and describing the generation of composers which
included Dodgson as 'all-wintry' .35
The next broadcast was of String Trio in A (later to be re-titled String Trio No.1).
Dodgson regarded this as his :first real success. He thought then that it had a freer sense of
melody, much more interesting linear development than anything he had managed to do
before. He was to say of it later:
It came easily to me, and felt fresh. I recognise many deficiencies, but (you may be
astonished) it still appeals to me. Specially the slow movement.
36
Dodgson considers it to be superior to four string quartets that he composed during the late
forties and early fifties,37 although the first of them won the Corbett Memorial Prize, and
another, his String Quartet in B minor (1953), was taken up by a reputable quartet, the
Hirsch String Quartet, and featured in many of its programmes, including the broadcast on
the Third Programme referred to in Table 1.1 (Appendix 1). The other two of these early
string quartets, both much leaner in texture, fared less well. There was a swiftly prepared
performance in each case, 'followed by the slow settling of dust' .38
The third broadcast listed in Table 1.1 arose from Dodgson's association with two
members of the Wigmore Ensemble, flautist Geoffrey Gilbert and harpist Maria
Korchinska. Dodgson had already written a Fantasy for Harp for Maria Korchinska (in
1952), and it was at her suggestion that he wrote Duofor Flute and Harp (1958) which was
broadcast on 14th April 1959. Dodgson regarded the Duo as one of the most technically
assured pieces he had and Maria Korchinska kept it in her repertoire until she
died. She was a staunch advocate of Dodgson's music and a "formidable lady".40 Dodgson
regards her support as a key factor in his early success:
Maria Korchinska was a marvellous friend to me. Without her encouragement I
would never have written it [Duo for Flute and Harp], and so I would never have met
35 W. R Anderson, 'Round about Radio', Musical Times, 92 (1951) 268-270 (p. 269).
36 Talk given at the British Institute of Recorded Sound, 30th Janua.xy 1969.
37 Stephen Dodgson: talk given at the Cheltenham Festival, 15th July 1987.
38 Ibid.
39 Stephen Dodgson: talk given at the British Institute of Recorded Sound, 30th January 1969.
8
all the harpists who have since asked me to write for them.41
The Duo led to a commission from the Wigmore Ensemble to write a Sextet for strings with
flute and harp for the whole group. The Ensemble played widely, and both the Duo and the
Sextet (which was played at the Edinburgh Festival) received a lot of attention. Often his
own most severe critic, Dodgson later confessed that he was a little surprised that the
Ensemble should have played the Sextet as frequently and over as long a period as it did.
"The music to me seems meandery and uncertain in direction".42
He had had similar reservations about an earlier work, the Serenade for viola and
orchestra that was broadcast in May 1956. It was accepted by the BBC for broadcast some
two or three years after he had written it. Dodgson didn't want it to be broadcast in the form
in which it had been accepted, so without mentioning it, he largely re-wrote it in the space
of about one week, just prior to its broadcast. "It was a very good thing I did - it improved
it a lot".43 The piece the BBC broadcast was very different from the one it had accepted,
and it was the most successful of his orchestral works during the early period.
Another work that stands out from that period is The Soul's Progress, the subject of the
sixth broadcast listed in Table 1.1. A sequence offour sacred pieces, it was Dodgson's first
sizeable choral work, scored for two solo voices, chorus, brass, timpani and harp (a scoring
similar to Apparebit repentina dies, suggesting the influence of Hindemith). One of the
trumpeters involved in the broadcast was Philip Jones, and after the performance he
approached Stephen Dodgson to ask him to write for his Brass Ensemble. Dodgson
responded with Suite for Brass Septet, which was broadcast later the same year.
44
This was
one of many instances in which the performance of one work would lead to a commission
to write another. The Soul's Progress was another work which benefited from the activities
of the Society for the Promotion of New Music, which presented it at the Festival Hall on
20 February 1960, with Norman Del Mar conducting the Morley College Choir, and the
London Symphony Orchestra.
The chamber, choral and orchestral works were part of a diverse range of pieces written
during the early years, which included a number of pieces written for children, the first of
which was Lammas Fair (1952, see Table 1.2), the first of three operettas to be
commissioned on behalf of the pupils of Farmhouse School, Wendover. Dodgson set about
41 Malcolm Crowthers, 'Composers ofToday', Performer, (August 1981), 27-30 (p. 30).
42 Stephen Dodgson: talk given at the Cheltenham Festival, 15th July 1987.
43 Stephen Dodgson, interview with lohn Mackenzie, 24th March 1999.
'A Thi" nmved a somewhat difficult line up to programme, so in 1963 Philip Jones commissioned a quintet. Sonola for Brass.
9
writing the Symphony in E /:; (the subject of the third 1
5t
performance listed in Table 1.2)
following the sudden death of his mother in February, 1952. It was awarded the Royal
Philharmonic Society Prize in 1953, four years after he had first won the same prize with
his Variations for Orchestra; and his Ceremonial Overture, written in 1953, was awarded
first prize in an international competition organized by RITMO (a leading music periodical
based in Madrid) in 1955.
45
Dodgson's work started to received critical acceptance as first public performances began
in London. The music critic Donald Mitchell saw "undeniable promise" in Three Dances
for violin and piano when he reviewed its first performance.
46
He also discerned the
influence of Benjamin Britten in the anthem for chorus and organ All this night shrill
Chanticleer (words by William Austin) at the summer concert of the London Bach
Society;47 and he found the fIrst performance of Dodgson's Flute Quartet "pleasingly
airy".48 (See Table 1.2).
However, Dodgson made few claims either for himself or his music, and never
sought or professed to write a masterpiece. He was more interested in providing pieces
which would be useful in the 'real world', such as Hill Billy for four hands on one piano
(1953) in which snatches of melody are divided between the players and are treated in lively
canonic imitation. It was attractive, simple material.
Introduction to the guitar
It may have been this diffidence that caused him to accept requests to write for two
guitarists whom he happened to meet. The status of the guitar during the early 1950s was
low, and another composer in the early stages of a promising career may have considered
that such a request was, or perhaps should be seen to be, beneath him. The first encounter
was with a Russian refugee called Alexis Chesnakov.
49
He had settled in the Fulham Road
and he worked as an actor. (He played the role of the "Officer in charge of the Russian
sector of Vienna" in the film The Third Man.) He was an amateur guitarist and balalaika
player, and wanted some arrangements of folk song accompaniments. Dodgson attempted
to fulfil the brief, but remembers feeling "all at sea" as he tried to write for the guitar. 50 The
experience may have helped prepare him for what turned out to be a much more significant
45 Symphony in E b was played again in June 1955 by the Yorkshire Symphony Orchestra.
46 Donald Mitchell, 'London Music', Musical Times, 96 (1955), 266-270 (p. 268).
47 Donald Mitchell, 'London Music', Musical Times, 96 (1955), 433-434 (p. 434).
48 Donald Mitchell, 'London Music', Musical Times, 97 (1956),653-656 (p. 653).
10
encounter, when he met Julian Bream a few years later, about 1952, when Julian Bream was
in his late teens.
When he met Stephen Dodgson, Julian Bream, "in the characteristic spontaneous way
he had", said "Why don't you write for the box"?51 So Stephen Dodgson's entry into the
guitar world was not prompted by a search for new colours, or timbres, or novelty. It was
the practical matter that here was a guitarist who wanted it. "And he played wonderfully.
Who wouldn't"?52
Thus his first real guitar work was his Prelude Nocturne and Toccata which was
intended as a single piece in three movements. Julian Bream played it quite frequently, and
more often the slow Nocturne which he thought was the best of the three, and which he
would sometimes single out to play on its own. The texture of this, Stephen Dodgson's first
attempt at serious guitar music, is rather dense. It contains passages which if taken literally,
are impossible to bring off. To have a chance of success the guitarist must edit as s/he goes,
and it requires a guitarist with an instinct for what to edit without jeopardising the integrity
of the piece. Stephen Dodgson is still surprised that Julian Bream should have persevered
with it,53 but recognises something in it which is idiomatic to the guitar even in this first
attempt. However he has come to appreciate an absence of thickness in the actual lines
which comprise the music in guitar compositions,54 and Prelude Nocturne and Toccata is
conspicuously absent from Stephen Dodgson's own selected list of works, and (in common
with his next work for solo guitar, Five Occasional Pieces [1955]) it was never offered for
publication.
In 1956 Stephen Dodgson was appointed to conduct the Royal College of Music Junior
Department Orchestra on Saturday mornings. The Junior Department is a special
department for talented children of school age. Conducting the orchestra took only an hour
to an hour and a half, and so very soon after he took the post he spent the rest of the
morning teaching composition and harmony. The fourteen-year-old John Williams enrolled
as a Junior Exhibitioner, and was one of Dodgson's pupils, although he often felt that "most
of the learning was the other way round".55 He found the young John Williams an
inspiration.
He already had a formidable ability on the guitar, and I remember he was an
52 Stephen Dodgson. interview with John Mackenzie, 24th March 1999.
55 Introduction by Stephen Dodgson to a live recital by John Williams. BBC Radio 3 broadcast, 12th October 1973.
11
extraordinary player - terrific facility.56
In 1959 John Williams made the first broadcast recording of Dodgson's Guitar Concerto
No.1 (see Chapter 6), and in 1962 he asked Dodgson to write some songs for him to play
with the tenor Wilfred Brown. Dodgson considers the resulting Four Poems of John Clare
for high voice and guitar, to be the first of his guitar works in which he demonstrates that
he has really come to terms with the guitar idiom (see Chapter 8).57 It was the success of
Four Poems of John Clare that encouraged him to write another solo guitar piece, Partita
No.1, written in 1963 with John Williams specifically in mind (see Chapter 5) and which
was the first of Dodgson's solo guitar pieces to be published. During the course of the next
three decades his collaboration with John Williams was to blossom into a fruitful
partnership, leading to the composition of three more guitar solos (see Chapter 5); duets for
harpsichord and guitar and cello and guitar (Chapter 7); and a second guitar concerto
(Chapter 6). Their association had the incidental effect that Dodgson was spoiled, at least
to some extent, by John Williams' ability, being inadvertently misled in respect of what the
limitations are for most guitarists. Speaking much later, following the composition of the
second guitar concerto in 1973, he was to say of him:
He's as quick as a knife with music. He'll take in music at a terrific speed and of
course he can put it on the fingerboard of the guitar like nobody I've ever met. I've
never met a reader like him. Nearly all my guitar music I've written at his suggestion.
Seldom a year has gone by that I haven't written something for him. This new
concerto - the first movement is a real presto - goes at tremendous speed. I had just
written it out in rough, in pencil and difficult to read ... John sits straight down and
most of it's there. He'll just stop and 'what's that? - a D, yes.' It's quite incredible.
58
And John Williams turned out to be a prime stimulus to Stephen Dodgson not only in
respect of his guitar writing.
In fact he's been a great source of inspiration to me altogether. With his interest in
what I write and his desire to promote it, lowe him a great deal. 59
Involvement in the world of the harpsichord, film, radio, and education
Dodgson's involvement with the guitar ran in parallel with an equally important association
with the harpsichord. One of his fellow students at the Royal College of Music was
Stanislav Heller, who was later to become Professor of Harpsichord at the University of
56 Gilbert Biberian 'In ronversation with Stephen Dodgson', Guitar, 1 No.8 (March 1973),20-22 (p. 21).
57 Richard Provost, 'The Guitar Music of Stephen Dodgson', SOUNDBOARD, 6 No.1 (Febrwuy 1975), 3-5 (p. 3).
58 Siberian 'In ronversatlon with Stephen Dodgson', p. 21-
59 CrowthetS, 'Composers ojToday', p. 27.
12
Freiburg. In 1955, at the joint instigation of Heller and the harpsichord maker Thomas
Goff, Dodgson wrote Six Inventions for Harpsichord. This was the first of many
compositions for harpsichord, both solo and in ensemble, and the reason for his continuing
involvement may be found in his private life. In the same year that Dodgson wrote his Six
Inventions for Harpsichord, his father had re-married, and in 1958 John Dodgson and his
new wife Agnes (nee Goodchild) moved to the village of Chelsworth in Suffolk. At the end
of 1958 Dodgson met a harpsichordist from the neighbouring village, Monks Eleigh. She
was Jane Clark, described as 'a Couperin expert',6O and 'a specialist in Scarlatti and music
from Spain' .61 They discovered they had a lot in o m m o ~ having both been to the same
events on a number of occasions without meeting. They were to marry within a year, and
Stephen Dodgson experienced "amongst other advantages - a vast increase in my
appreciation of the instrument and its superb literature". 62
Another parallel activity was writing music for films. He was commissioned to write the
music for two documentary films made by President Pictures Ltd., The Kingdom of
Scotland, and On the Menu, the former for small orchestra, and the latter for 'rather larger'
orchestra;63 both were conducted by Muir Mathieson. Dodgson found writing the music for
the films an instructive experience: "You must go straight to the point and everything has
to fit. It's a good discipline in not writing more than what you need".64 With typically only
about three weeks to compose between twenty and twenty-five minutes of music, he had to
learn to think and write with speed and clarity.
At about the same time as Dodgson's marriage to Jane Clark, a conflict arose between
two strands ofhis work. He was invited to broadcast reviews and commentaries on musical
topics by the BBC. The work was to be freelance, so there would be no contractual
difficulties, but there was the practical matter that the principal programme was made on
a Saturday morning, the same time as he was teaching in the Junior Department of the
Royal College of Music. It was a difficult choice, but he elected to work for the BBC.
However his involvement in educational activity resumed in 1961, when he was enlisted
by Novello to provide music for a new series called 'Music for Today', under the general
editorship of Geoffrey Bush. The aim of the series was 'to introduce amateur orchestral
players to the work of serious contemporary composers'. He was to write the first piece of
60 Pamela Nash. 'An Interview with Stephen Dodgson', The Diapason, 92 No. 10 (October 200 I), 15-19 (p. 15).
61 Mildred Jones Keere., 'Creative Arts CO\DlCil News', The Fairharen Unitarian Lance, 31st March 1976.
62 Stephen Dodgson: talk given at the British Institute of Recorded Sound, 30th January 1969.
63 Stephen Dodgson, in a letter to John Mackenzie, 1st August 2003.
64 Crowthers, 'Composers of Today', p. 28.
13
the series, called Villanelle. It was intended for schools, and was considered to be "superior
to most school fare" by the Musical Times critic Theodore Newman.
65
This led to other
work intended for educational use, including music written for grade examinations, and test
pieces for specific instruments.
Writing music to commission continued to be an important component of his working
life, and the music he was asked to write was striking in its diversity. For instance Dennis
Nesbitt asked Dodgson to write a Concerto for Viola da Gamba and Chamber Orchestra;
which was followed (in 1962) by a commission from St. Paul's Girls' School for a cantata
Hymn to Harmony (for words by Congreve), for chorus and semichorus (both SSA) with
orchestra; and a commission from Sadler' s Wells for a new overture for The Mikado
,
following the expiration of the Gilbert and Sullivan copyright. The latter commission
prompted this unwitting tribute, which appeared in The Times:
... the woodwind especially were on their best form, and the overture emerged with
a lightness and charm which it too rarely possesses.
66
Appointment at the Royal College of Music and the later years
A landmark in his life was to occur in 1965. Since the early sixties yet a further strand to
his work was as a deputy at the Royal College of Music. He would fill in for teachers who
were temporarily indisposed. A vacancy arose for the appointment of a professor of
composition and harmony, and when Dodgson was offered the post, he accepted.
His appointment coincided with an increased involvement with the BBC. In the same
year, and over the course of the following eight years, he composed scores for major drama
productions ranging from Shakespeare's Macbeth to Aristophanes's Women in Power and
Plautus's The Ghost of a Play, "in the days when they had a budget for really sizable
instrumental line-ups" . 67 This activity tended to displace his film work, and he found the
experience of writing music for films helped him to understand how to write for the
medium. He had developed a feel for the dramatic factors, and the use of extraordinary
combinations of instruments to create the right effects.
68
He continued to review new
recordings, address some musical history questions, and make occasional complete
programmes such as The Complete History of the Concerto, which he made for the World
Service.
65 Theodore S. Newman, 'New Music - Music for Amateurs' ,Musical Times, 102 (1961), 787-788 (p. 788).
66 Unattnbuted, 'The Arts', The Times, 31st May 1962, p. 16.
67 Crowthers, 'Composers o/Today', p. 28.
14
His didactic work continued with Concerto for Conductor commissioned by
Chappell & Co., with whom Dodgson had an exclusive contract at the time (it consists of
not-too-difficult music for standard in one movement with many changes of
tempo, written as practice fodder for budding conductors); and he made his Guitar Concerto
No.1 available through the 'Living British Composers: Central Library Scheme' (one of
a number of works by living British composers which would otherwise have been available
only through the hire libraries of commercial publishers).
A long line of commissions continued to shape the course of a very large output of
instrumental and choral compositions. The music critic Joan Chissell wrote in 1977:
Stephen Dodgson [is] a composer who thrives on special orders - indeed for whose
particular kind of mind they are almost a necessity.69
And Francis Routh observed that:
The chamber music style is inherent in Dodgson's intimate and precise musical
personality.70
Dodgson attributes the steady stream of commissions to his responsiveness to practical
considerations, and willingness to consider unusual combinations of voices and instruments:
1 have the reputation of being biddable. Someone finds themselves plannjng a
festival programme, involving a strange mixture of musicians, and no discoverable
item anywhere in the repertoire to bring the whole lot together. That's the sort of
moment when my name gets mentioned.
71
Table 1.3 (Appendix 1) shows a sample of Stephen Dodgson's commissions since his
professorial appointment, other than guitar-related commissions, which are considered
separately.
Dodgson fulfilled the later commissions having relinquished his duties as a professor of
composition and harmony. For a month or two during 1982 he was unwell, and it made him
reflect "1 think I've taught for long enough and 1 can exist without continuing". T2 He had
been made a Fellow of The Royal College of Music the previous year, and there was
restructuring going on at the College. It seemed like the right moment. He thought to
himself, "if you don't leave now you never will".73 His output didn't increase significantly,
but it did enable him to concentrate more on composition, which has continued to be his
primary activity to the present day, with teaching, broadcasting and journalism assuming
only a secondary and incidental place in his life.
69 Joan ChisselI. 'Vienna Wind Quintet - Wigmore Hall' The Times, 14th November 1977.
70 Francis Routh., Contemporary British Music, (London: MacDonald,. 1972), p. 362.
71 Stephen Dodgson: 'Personal View', recording of a programme broadcast on BBC Radio 3 c.I991.
72 Stephen Dodgson, interview with john Mackenzie. 24th March 1999 .
.,.., non"""n interview with john Mackenzie, 24th March 1999.
15
CHAPTER 2
Stephen Dodgson's musical language
Musical pur,pose
During the ninth season of the Redcliffe Concerts of British Music, on 19
th
March 1973, a
concert of Stephen Dodgson's music was presented at the Queen Elizabeth Hall. A note in
the programme for the concert, which was compiled with the help of Stephen Dodgson,
reads as follows:
Stephen Dodgson strives to write what he is asked to write, matching the composition
as closely as he can to the musicians and the occasion. He has written no music for
the past fifteen years prompted solely from within himself, which he wished to impart
as a message to mankind. He believes that it is only by composers learning to become
servants of the community, as they once were, that new music can escape its present
experimentalism and, more damaging, the rut of self-expression. He uses neither
symbolism nor vague interior meaning - only the music itself, and as directly as
possible.
A reader of the programme may have formed the impression from this statement of intent,
that Dodgson regards music simply as entertainment, and that as a 'servant of the
community', a composer is subjugated to the role of a mere supplier of goods, and
intangible goods at that, to serve a particular function. The reader may have also been
perplexed by the notion that self-expression through music is a rut from which new music
must escape. Surely the purpose of music is to express that which cannot be expressed in
words. As for experimentalism, if we do not try out new ideas, how can we escape
effectively re-writing what has already been written?
The composer in the community
Stephen Dodgson's starting point is practicality. He said of his teaching at the Royal
College of Music:
The teaching must be aimed at trying to make certain their [the students'] ideas are
expressed as vividly and as practically as possible, so that when their score is
complete and they present it to musicians, those musicians will want to perform the
piece, because to have the piece performed is the most valuable lesson for the student,
and if it is not practical nobody is going to want to play it.
1
Another component of his philosophy is that practicality should be coupled with a
simplicity of intent:
I Stephen Dodgson, interview with mfMiiller, November 1982, (unpublished master's thesis., Institut MUnster, \983), p. 90.
16
I believe that some of the most profound things that can be said in music as in words
, ,
are often the simplest. Not necessarily is the complex idea the one that has
profundity.
2
If there is anything I would really like to do it would be the simple things,
profoundly.3
That simplicity of intent will help to achieve the fundamental aim that the listener should
feel involved:
I do believe truly that music should divert and lift the spirits and does not necessarily
have to be ambitious and profound in order to be worth doing.4
If I find I'm not making contact, that is a disappointment to me, because I mean to be
immediate .... [That consideration] colours what I do more now than it did in the past.
I'm more concerned with this than ever.5
The aim of reaching, and creating a sense of involvement in, the listener, reveals an
outgoing personality reacting against any suggestion of isolation from the community:
It's so easy as a composer to drift into your own, deceptive backwater, rather than be
buffeted about in the choppy waters out in the main stream. So there once more I
reveal myself as not being cut out for the ivory tower. I actually welcome being out
there in the throng, being kicked this way and that. You'll be misunderstood or thrust
aside some of the time, but not always.
6
The question of self expression
In their manifesto Jeune France promulgated in the form of a pamphlet 1936, Yves
Baudrier, Daniel LesUf, Andre Jolivet and Olivier Messiaen laid out a common objective:
the re-humanisation of music.
7
Their premise was that the human creative spirit was being
stifled by abstract systems and theories. Baudrier and Lesur in particular took the view that
music is self-expression because man is complete in himself. Extra-musical experiences
should be given musical expression, and the music that emerges is dependent on the
experiences the composer has undergone, the environment in which those experiences took
place, and the composer's psychological make up. Stephen Dodgson would agree with the
premise, but believes that man is not self-contained, but part of something beyond himself,
with a universal and spiritual dimension, and that music cannot therefore be regarded as
limited to the expression merely of personal experiences.
2 Malcolm Crowtbers, 'Composers of Today', Per/ormer, (August 1981),27-30 (p- 28)_
3 Talk given at the Institute of Recorded Sound, 30th January 1969_
4 Stephen Dodgson, interview with mfMiiller, p- 73_
5 Stephen Dodgson, interview with John Mackenzie, 8th December 1998_
6 'Personal View', rerording ofa programme broadcast on BBC Radio 3 c_ 1991.
7 Robert Sherlaw Johnson, Mes.,jaen (London: J_M Dent & Sons Ltd, 1975), p- 10_
17
I've w a y s thought there are only two reasons for music. One is to express joy, the
other IS for the glory of God. I've never thought there were any others .... And I think
it's possible for me to do both things at the same time. I don't want to exhibit myself
in public. They wouldn't be interested.
s
He shares the view expressed by John Fowles in The French Lieutenant's Woman, that:
a world is an organism, not a machine...... A planned world is a dead world - a
genuinely created world must be independent of its creator.
9
An analogy is to be found in literature. In his Tradition and the Individual Talent (1919)
T .S. Eliot expounded his 'Impersonal theory of poetry' .10 The theory has two aspects. One
is the conception of poetry as the living whole of all the poetry that has ever been written.
The other is the concept of the poet as a catalyst - a medium in whom special, or very varied
feelings are at liberty to enter into new combinations. Just as a catalyst may be necessary
to cause a reaction in chemicals without itself undergoing any change, the poet's mind is
a means by which countless feelings and images can be stored until all the components
which can form a new entity are present together; the formation taking place without
introducing something of the poet in the process. T. S. Eliot believed that the poet is not
remarkable or interesting in his personal emotions, the emotions provoked by particular
events in the life of the poet; and that it is an eccentric error to seek for new human
emotions to express. What happens to the poet is a continual surrender of himself to
something which is more valuable.
Echoes of this philosophy are found in the views of Stephen Dodgson's father, who
according to a John Dodgson exhibition catalogue, published by the South London Art
Gallery in 1971:
... saw painting as an autonomous realm which existed almost beyond the individual's
contribution to it.
Stephen Dodgson also considers that music which aims at self-expression often fails to be
interesting or involving:
I dislike introspective music. My whole desire is for something positive, outgoing
and full of life and motion. . .. I think that composers who concern themselves overly
with self-expression are always boring. Involving your listener, that alone makes
composition a worthwhile pursuit. 11
He considers a more fulfilling aim is to discover himself through the medium and not
9 Talk given at the Cheltenham Festival, 15th July 1987.
10 T.S. Eliot, Selected Prose, ed John Hayward (Hannondsworth: Penguin Books, 1953) pp. 26 - 30.
11 Lance Bosman, 'Stephen Dodgson' Guitar Maga=ine, (March 1983), 17-21 (p. 21).
18
impose himself upon it; he notes "1 do not carry over a style from medium to medium,
bending the medium to my style ... I've come to believe too that by exploring a medium in
the least self-centred way I'm capable of actually becomes the means of enlarging and
extending my expressive range and structural imagination".12 That is, the medium, and the
practicalities to which it gives rise, are given priority both over self, and over abstract
theories. Francis Routh observed in Contemporary British Music:
An absence of theory is a source of strength in Stephen Dodgson's music, coupled
with an unfailing desire to write gratefully for a performer the sort of phrase that will
reveal the true characteristics of his instrument. 13
Searching for originality and experimentalism
One step removed from self-obsession lies another potentially limiting factor - pre-
occupation with the current pursuits of other composers:
I abandoned all that, partly because I feel these things are more the province of
journalism than any very potent factor in composition ... but chiefly because I think
it would be irrelevant in me, who enjoys the unbounded independence possible in
composition today but who is also disinclined to take a progressive view of art. The
emphasis so often seems back-to-front to me. We nervously watch each other's
reactions [to gauge] what new path is meaningful, where the modern masterpieces are
to be found. But none of this matters much in the face of our current need to feel free
in our judgements, recover some unfeigned enjoyment, and never to worry whether
we back the wrong horses. Ifmy music is enjoyed, then I'm entirely content that no
one should ever think me in the least significant.
14
To eschew emulation of other composers as a potentially limiting tendency suggests a
positive view of experimentalism, to achieve originality, and set the composer aside from
the pre-occupations of the many. But Stephen Dodgson regards the search for originality
as merely a different aspect of the same fault, and experimentalism as an extension of it:
1 very much believe that to search for originality is a pointless endeavour. For me,
at least. My argument goes: originality is born in us all to greater or lesser degree.
If there is any, it will out of its own accord unbidden. No amount of effort will do a
blind thing for it. And in any case, the composer himself is probably the last person
to know what aspects of his work are truly original.
I5
Dodgson looks for the cohesion which results from craftsmanship:
My excitement in music, other people's just as much as my own, is never sufficiently
sustained by the effects, the emotion, the colour or the atmosphere, alone. I'm not
satisfied unless the meaning of all the contributing strands is eloquent. Which is
12 Talk given at the Cheltenham Festival, ] 5th July ]987_
13 Francis Routh, Contemporary British Music (London: Macdonald, 1972) p- 360_
14 Talk given at the Institute of Recorded Sound, 30th January 1969_
15 Talk given at the Cheltenham Festival, 15th July 1987_
19
much the same thing as saying that craftsmanship is essential to any work of art. 16
Which is not to say that within every worthy composition there is not an inexplicable
attraction, an element of mystery which defies definition:
Craftsmanship itself can be inspired. Any craft that doesn't have a bit of art in it is
not interesting is it? Even how a piece of wood is shaped, for instance, by somebody
who doesn't consider himself more than a craftsman, nevertheless, there is the other
factor in it. 17
Modernist trends, and influences
One of the influences which has detennmed the direction of Stephen Dodgson's
composition is his continued antipathy to what he sees as the rhythmic fragmentation of
serial music. IS He regards the frequent changes in tempo as an impediment to physical
forward thrust.
19
And he considers the rhythmic thrust associated with minimalism to be
achieved only at the expense of tedium, as the patterns that comprise it continually repeat. 20
Two features of electronic music cause concern to him. One is that his experience
has been that performance logistics can give rise to worry in the minds of the players,
because they are deprived of natural control, and as a result the music can actually feel
unnatural.
21
The second is that he fmds the paraphernalia of machines and loudspeakers
very unaesthetic. 'I can't see the point of being in a concert hall and listening to
loudspeakers, 1 never have been able to see the point in that' .22 He sees little point either,
in employing microtones:
1 fmd it hard enough to get twelve semitones in the octave in tune. To get them in
tune beautifully is more important to me than trying to find cracks in between them.
But the bending of pitches 1 do believe in.23
He does however have sympathy with the concept of aleatoric music. He makes a
distinction between music in which the element of chance is uppermost, and music which
has a pre-determined structure but in which the exact way the elements fit into that structure
is not completely pre-determined. The former holds little appeal, but the latter does attract
him.24 However even that, he finds a precarious business from a practical point of view, and
16 'Personal View', programme broadcast on BBC Radio 3 c. 1991.
18 Colin Cooper, 'Stephen Dodgson at Prussia Cove' Classical Guitar, (November 1985), 19-20 (p. 20).
19 Gilbert Biberian 'In conversation with Stephen Dodgson', Guitar, 1 NO.8 (March 1973), 2(}"22 (p. 20).
20 Interview with John Mackenzie, 8th December 1998.
21 Timothy Walker, 'Stephen Dodgson in conversation with Timothy Walker', Sotmdboard, Winter (1991), 13-21 (p. 18).
23 Ibid
24 Biberian, 'In conversation with Stephen Dodgson', p. 20.
20
has tended to look for means of creating the impression of a 'haphazard moment', while
retaining certainty in the minds of the players. For instance, in one of the movements of his
Trio for Oboe, Bassoon and Piano:
I had the idea of making the three instruments independent, only being forced into
ensemble at certain points and at the end. I wrote it in a free way in which each have
their own rhythm, the bassoon basically slow, the oboe very fast, and the piano
uncertain which it is. They follow cues from each other. None of the barlines are
together anywhere. And fmally it co-ordinates. Now I've been doubtful ever since
I wrote that. It was very difficult to do and the players ..... were very inclined to get
lost somewhere in the middle. I came to the conclusion that probably I could have
produced the same extempore effect and yet have written it all out so that they had
barlines in common and could still produce the sense of freedom. And I think this is
true of a lot of pieces intended to produce an extempore effect. It would be much
easier if the composer would take the trouble to work out how to do it, so that it can,
in the case of a larger ensemble, be conducted throughout. 25
Dodgson regards the diatonic scale, in all its forms, as a source from which
composers can draw indefinitely. It is not a question of fashion, but of enduring
fundamentals. He looks back on his time at the Royal College of Music in the late forties,
and his subsequent stay in Italy, as an important factor in forming this view, not only
because of the formal studies that he undertook during those years, but also, and perhaps
primarily, because he was afforded the opportunity to listen to 'vast quantities' of music,
and so to benefit from exposure to many styles and idioms.
26
The works of early twentieth-century French composers had an influence on him: his
appreciation of the subtlety of Debussi7 was to find expression in the Sonata for Flute,
Viola and Harp (1953/54) and Duo for Flute and Harp (1958); his admiration for Poulenc
is evident in his Trio for Oboe, Bassoon and Piano (1973);28 and a precarious balance in the
second movement of his Piano sonata no. 4 (1988) is reminiscent of Sa tie's Parade.
However it was music by composers from Eastern Europe that made the greatest
impression. As well as what Dodgson describes as Bartok's and Hindemith's 'limited use
of serialism' ,29 he took cognizance ofHindemith's constantly moving tonality.30 He saw
a complete freshness and lack of self-consciousness in v o ~ 31 and a welcome austerity
27 Routh, Contemporary British Music, p. 360.
29 Biberian, 'In conversation with Stephen Dodgson', p. 20.
30 Stephen Dodgson, interview with WMilller, p. 95.
31 Biberian. 'In conversation with Stephen Dodgson', p. 20.
21
in Shostakovich:
Shostakovich gives the bare bones of thought. That's what I so admire about him.
There are no trimmings. His music has a primitive power, because he puts his faith
in a powerful, simple idea. It never overfills its space. 32
And as he observed in 1982:
Every twentieth century composer has felt great influence from Stravinsky.33
The music which he heard at this time that had the greatest influence was that written by
Jamicek,34 partly because of Janacek's "extraordinary freshness" 35and "the shapes of his
small but so intense motifs, his obsessive rhythms, the sudden blinding beauty of his
lyricism,,/6 and partly, and perhaps significantly, because of the way Jaruicek ' ~ e n t
doggedly his own way regardless",37 "completely untrammelled by any kind oftradition".38
The influence of Janacek (as well as that of Debussy) is evident in the Duo for Flute and
Harp; Dodgson's Nocturne for strings (1960) is based on Goodnight from one of Jaruicek's
flIst set of piano pieces, On The Overgrown Path; and his Sinfonietta (1964) comprises
short movements, some with reduced orchestration, as does JaruiCek's Sinfonietta, and like
Janacek's, Dodgson's begins with open fifths in the wind. He also responded positively to
the music of Scarlatti,39 Dallapiccola, 40 Lutoslawski
41
and Benjamin Britten (see Chapter
1), but it wasn't only those composers he admired that exerted an influence:
I think all composers influence me; since there is always something to be learned
from those you do not admire - even perhaps particularly from those you do not
admire. Those I love, I have to be on my guard against, lest they influence me too
much.
42
And in any case:
Influences come and go. At some point one is more important than another. You
digest them and they become part of you, or you leave them aside.
43
32 Crowtbers, 'Composers o/Today', p. 28.
33 Stephen Dodgson, interview with UlfMiiller, p. 76.
34 Talk given at the Institute of Recorded Sound, 30th Janwuy 1969.
36 Talk given at the Institute of Recorded Sound, 30th Janwuy 1%9.
37 Ibid
39 Stephen Dodgson, interview with U1fMiiller, pp. 104-105.
40 Stephen Dodgson, interview with U1fMiiller, p. 76.
41 Ibid
42 Bosman, 'Stephen Dodgson', p. 21.
22
The compositional process
Whatever the nature of the composition, the compositional process takes place, or at any
rate starts, at the piano. There has to be sound: 'writing at a table is too unreal,.44 The
ground floor room containing the piano overlooks a quiet street. Passing acquaintances are
noticed and acknowledged, and any feeling of distraction that this does induce is a sign that
his concentration is below par.
45
At times a need to get out of the room and 'think in a
larger sphere' is felt,46 a cue for a bicycle ride around Richmond Park, or a visit to the
market.
47
Otherwise the work is organised. There is no reliance on 'inspiration', but
instead an acknowledgement that keeping 'steadily at work on one's craft' ,48 is the only
hope that any inspiration may be experienced. There must be a rhythm to the process, just
as his music must have vital rhythm. Each session has 'a beginning, an end and a rhythm
to sustain it;49 and if really intensive work can be produced throughout a morning, the
objective becomes to leave work of similar intensity to another equally organised session
the following day. Occasionally a whole morning's work will pass in a flash. Three pages
or so of scribbles, not necessarily on manuscript paper, may comprise all the raw material
needed for a substantial piece. 50 It is on these occasions that he has then to apply the brakes,
to stop himself doing too much in a single day by going too fast, and thus disturbing the
rhythm of his composition. On the other hand, he sometimes has to set a timetable, even
if there is no deadline for the composition, to maintain the rhythm of his work. 51 The
session over, all loose pages are put in a cupboard out of sight, and will stay there, whatever
the temptations, until the next scheduled session. By putting it out of his mind, the object
is to distance himself from it, to gain an observer's view of the work so far.
52
Experience
has taught him that musical ideas that strike in the middle of the night should be ignored,
that brilliant sparks never look brilliant in the full light of day.
The amount of plannjng and pre-determination is strictly limited. The number of
movements may be decided; and features such as an inconclusive end to a movement, and
a common stock of melodic and harmonic cells. However the fate of that common stock
44 Walker, In Corrversalion with Stephen Dodgson, p- 19_
45 'Personal View', programme broadcast on BBC Radio 3 c_ 1991.
46 Walker, In CorrversaJion with Stephen Dodgson, p- 16.
47 'Personal View', programme broadcast on BBC Radio 3 c_ 1991_
48 Ibid
49 Ibid_
50 Ibid
51 Bosman., 'Stephen Dodgson', p_ 21.
52 'Personal View', programme broadcast on BBC Radio 3 c_ 1991.
23
will be left to a kind of natural evolution. More detailed planning is resisted in order to
maintain a certain distance between himself and the finished composition. Progression
needs to be directed towards or may even give rise to, an immediate objective, and possibly
even the distant end one. However, latitude for the parts to follow their own dictates, or the
instrumental colours to be varied at will, would be destroyed if the structure was totally pre-
determined rather than left to emerge. An outline plan is essential to focus the imagination,
but a rigid one spoils the sense of discovery and exploration; so a balance is set somewhere
between a fixed conception and spontaneity. 53
As an aid, he will sometimes sketch a plan on a piece of paper, that is ordinary paper
rather than manuscript, to help him to stop thinking about the notes for a moment.
As you think about intervals and combinations, and tonalities etc., you begin to focus
on detail, and lose sight of the overall aim.54
The general contours are indicated - risings and fallings, rhythmic stems, bar lines and
stresses, long notes; as well as the mood, the impression, the expressive goal of the whole
piece - how it boils up here - the moment of sudden calm and the distant storm that never
comes to pass, all of which makes up the visual architecture of an elevation of the piece.
Textures can also be indicated like this, and using plain paper means one can scan the whole
range, the mind travelling through the piece quickly from end to end. The sketch helps him
to determine what sort of piece he is trying to write, keeping at bay the temptation to focus
in too minute detail in the early stages. However just as often, or perhaps more so, he will
refrain from resorting to the technique. It is sometimes a sign that he has run out of ideas.
Once an outline plan is in place, the process of setting out the notes begins. It is an
instinctive process rather than a technical one, because he sees the use of techniques as a
mould into which music is poured, and tries to resist it. Although he concedes that habits
have inevitably established themselves, 55 they too, are to be resisted. They are another sign
of having run out of ideas, 56 and are an impediment to the music having direction. A sense
of direction is essential to his compositional process. There must be a sense of going
forward with a simple power, however complicated the process may be at any particular
moment. He tries to 'keep his eye upon the target and upon the end of the piece, resisting
being distracted and unnecessary detail' .57 Going at a piece head on helps him to get it
54 Interview with John Mackenzie, 20th October 1999.
24
down in the simplest way and with the utmost sense of forward and, he insists,
stops him from thinking too much:
You should never know too much. .. [and] I often think you should not think too much
anyway when you compose. 58
He likens both the compositional process, and the piece that results from it, to a voyage:
Just writing into a huge sea of unchartered areas that may go on for ever, I find, does
not help .... composing is like a voyage. You travel through time from beginning to
end. It's got to feel like that. It's got to feel like a progress ...
59
The piece should be a voyage, the listener always maintained upon a current, like a
river flowing.
60
The difficulty is not being short of but having too many, all the time.
I have constantly to ask: are they relevant, do they belong here? Should I save this
or that for some future occasion?61
A sign that the process is working well is speed.
I would rather work at something three times with reasonable speed than labour over
each bit of it, because ifl start doing that I find I'm finicky with detail and not strong
in construction through the piece.
62
Speed indicates a sought-after simplicity:
I have never regretted the simpler parts of my music, but sometimes I regretted the
complicated ones.
63
and a sought-after textural economy:
I have quite often regretted putting in too many notes, and virtually never felt I'd
written too few. Power of communication lies in economy.64
The process of writing out the score in a fair hand, 'with a proper with a proper nib in
it', he finds an enjoyable means by which the slow pace can now focus his attention on
detail. 65 A concerto or partita would take approximately 30 day-long working sessions. But
they may be spread over a period of time, and a good many half-days are likely.66
59 Ibid, p. 15.
62 Crowthers, 'Composers o/Today', p.28.
65 'Personal View', programme broadcast on BBC Radio 3 c. 199 1.
25
Melody and the use of motifs
It is significant that in his talk given at the British Institute of Recorded SouncL Dodgson
said that it was the shapes of Jamicek's 'small but so intense motifs' that he had found so
influential. Indeed, on the same occasion, he aired his view that
Exact interval, despite dodecaphonic and other theory, is not the prime means by
which we identify musical ideas.
67
That is, intervals contained in motifs may vary. Recognition is of the overall shape of the
motif, or of its rhythm (rhythm being one of the means by which a musical idea is
identified) or both. This aspect of Dodgson's writing was recognised by Francis Routh in
his Contemporary British Music:
His themes are simple, not naive, and are recognisable as much for their rhythmic as
their melodic contours.
68
At the same talk, Dodgson acknowledged that the influence of Janacek's music had "really
weighed with me, returning constantly where others have been only periodic or questions
of detail;69 and he focused in particular on Janacek's use of a recurrent phrase to cause one
movement to grow out of another. The same trait is very evident in Dodgson's writing.
Motifs are developed by uniting fragmentary ideas. The thematic cells formed by the motifs
are extended, attenuated, or otherwise developed to generate impetus. Thus one theme is
developed into another using a common basic 'gene'. The 'gene' is often a melodic or
rhythmic quirk, and the themes so founded are bold and simple, and continually develop in
unpredictable patterns. Dodgson sees the continual development not as the avoidance of
literal repetition, but more a question of allowing a kind of natural evolution to take place:
"I think of it positively; things in life itself do not stay the same, they evolve". 70 Very often
the derivation of one theme from another is as much concealed from view as possible, so
that the effect shall be on the subconscious.
During his talk to the British Institute of Recorded SouncL Stephen Dodgson referred
to Jamicek's 2
nd
String Quartet Intimate Letters as "probably the greatest quartet written this
century". In a sense, he saicL that single work summed up the whole of Janacek's influence
- not only the "shapes of his small but so intense motifs", but also Janacek's "obsessive
rhythms", ''the sudden blinding beauty of his lyricism" and ''the sheer force of his
57 Talk given at the Institute of Recorded Sound, 30th January 1969.
58 Routh, Contemporary British Music p. 360.
59 Talk given at the Institute of Recorded Sound, 30th January 1969.
70 Interview with John Mackenzie, 30th October 1999.
26
utterance" .
The influence of Janacek is evident in Dodgson's Bagatelles for four clarinets
(1977). A characteristic of Janacek's melodic style is the use of held notes which lead to
a series of short notes, often with relatively large intervals, what might be described as brief
jagged figures, as in Words Fail! (See Ex. 2.1.)
Andante
I\. I
~

~ ,-
n J--i:::= ~
---
.
~
-
II- P-41 ___ -4
r

---
leggiero
~ J
~
..
.
.
I
Ex. 2.1 Words Fail! from On The Overgrown Path, Leos JaruiCek, bars 1 - 3.
Another characteristic of Janacek's music is the use of an oscillating, murmunng
background, against which is set a quasi choral feature, as shown in Ex. 2.2.
Adagio
,
I I
,
ppp
ppp
simile
I I I
__ 3-
I I I
ppp
Ex. 2.2 Intimate Letters, Leos Janacek, 4th movement, bars 224 - 225.
Often Janacek combines the two characteristics, setting a long held note against the
oscillating background, before opening out into a brief jagged figure (Ex. 2.3).
27
Andante
#_------
#--------
Ex. 2.3 The Barn Owl Has Not Flown Away from On The Overgrown Path, Leos Janacek, bars 3 - 6.
Short notes with relatively large intervals appear in Dodgson's Bagatelles after the eight bar
introduction (Ex. 2.4).
Poco Lento: alia fantasia
1\ (_
.J
P
......
I
I -e- -e-
sost.
=
f
=====-
ppp
-=====
1\ 1 I
@)
p
...
/'

pu-_ u- pu
qu
sost.
-
=
f
=
ppp
-======
I 1

pp
'F
=f=

--===== ppp
.. .. I
.--.' -

-

l1-&
P
sost.
---=====
=
'-3---'
ppp
Ex. 2.4 Bagatellesfor four clarinets, Stephen Dodgson, 1
st
movement, bars 9 - 14 (score at concert pitch).
'Jagged' figures continue to feature throughout the first movement, and then at the
beginning of the third movement, an oscillating figure forms the background to long held
notes in the bass clarinet, which open out into a little jagged, questioning figure in harmonic
conflict with the background, then echoed, and concluded with an expressive long note
(shown in Ex. 2.5).
28
Andante con moto: cantabile
1\
tJ
I;P- -==

11
'uif
..
--
tJ
P
-
L:h::
-
.-
-
.- .- L 1.._
-I-
:

..
-
.-

pp
mormorando
:
"

p
------------------

,.; II
-
I
tJ
P
-

---=--
----
.1.._
-::---.....
-
tJ
nif
.. .
-
.. .-
-
L 1..- .- .- ..
- -
L .1...
-
-:;.
.

r3"
L

.
"

-
--
'-.../
:pcx:of 7Ilf
Ex. 2.5 Bagatelles for four clarinets, Stephen Dodgson, 3
n1
As the movement progresses, the oscillating figure passes to a higher register, and the inner
voices take up the jagged motif (Ex. 2.6).
Andanle con molo: cantabile
-
II
tJ
pp monnurando
II
---:,.,. / ... ... --:-.
tJ
=
mj
'-3-.7
\3
J
-
1\

I I
.
tJ
mj

=
Ex. 2.6 Bagatelles for four clarinets, Stephen Dodgson, 3
n1
Janacek's trait of the common gene is especially evident in Dodgson's String Quartet No.
1 (1985). Everything in the whole work has its origins in the Poco Adagio with which the
work opens. It sets out a stock of melodic cells from which all the following music is found
to spring. The main cello motif (shown in Ex. 2.7), set out at the very start of the work, and
ending with a jagged figure, is especially influential in what follows.
29
""';1\
agIO

--
Poco Ad "
Violin 1

--
P'P -======
P -
f
1'\
--
Violin 2

--
P'P
--- =
p
-
f
Viola
pp
f
-
p
- P'P
-
-----..
;;!
Cello
:
" "
--
p "-y
=
f
Ex. 2.7 String Quartet No.1, Stephen Dodgson, 1
st
A motif moulded in the same shape appears later in the 1 st with different intervals
and an evolving rhythm, this time ending in expressive repose (Ex. 2.8).
POCO Adagio
", _I
>- -(IJ-
.
4!
I

"
.
pp--=::::::: I -J.

pp -=::::: f
ifZ
ppp
1\
-9-
L-.go
;-

_-6-"
pp
--==-=

>-

0
1
f
u l'
\.I;V"

pp
=
pp
ifZ
ppp
b:- I
.
:
-..

PP--=:::::::
ppp

pp
Ex. 2.8 String Quartet No.1, Stephen Dodgson, 1
st
The motif is hinted at throughout the work, and as the final section approaches, it re-appears
verbatim in the outer parts, although the inner parts stave off literal repetition (Ex. 2.9).
Piu Largo: lontano
'" II
~
pp
1'1
..> .-
pp
pp'
.
.
"'"
Ex. 2.9 String Quartet No.1, Stephen Dodgson.
2
nd
movement, fig. 47 + 1
30
-I
.

I'
.-
--,.
.
1 ----------
In Thistledown I, the first movement from Dodgson's Four Poems of Mary Coleridge for
chorus and flute, motivic shape conditioned more by rhythm than by interval provides the
common characteristic throughout; noticed especially in the movement of the flute part (see
Ex. 2.10). The third bar retains the rhythm of the first, but changes shape.
p
Ex. 2.10 Thistledown 1 from Four Poems of Mary Coleridge, Stephen Dodgson. Flute, bars 1 - 3.
The motif later retains the shape and rhythm of the first bar, but changes intervals, before
transposing a perfect fourth (Ex. 2.11).
-
-==== ========-
-======== == ====-
Ex. 2.11 Thistledown I from Four Poems of Mary Coleridge, Stephen Dodgson. Flute, bars 23 - 26.
Further into the movement, three of the intervals expand as one contracts (Ex. 2.12).
f
Ex. 2.12 Thistledown I from Four Poems of Mary Coleridge, Stephen Dodgson. Flute, bar 59.
31
A second motivic cell takes the form of ascending pairs of quavers, in the first and last bars
of the following illustration (Ex. 2.13), exactly transposed.
j
p
poco ::::::=-
ifz
poco if'z ::::=-
p
Ex. 2.13 Thistledawn 1 from Four Poems of Mary Coleridge, Stephen Dodgson. Flute, bars 7 - 14.
As the motif re-appears (Ex. 2.14), its shape is retained whilstthe intervals within the
central pairs of quavers are contracted.
Ex. 2.14 Thistledown 1 from Four Poems of Mary Coleridge, Stephen Dodgson. Flute, bar 34.
On the reappearance of the shape, all the intervals formed within pairs of quavers are
changed (Ex. 2.15).
Ex. 2.15 Thistledown 1 from Four Poems of Mary Coleridge, Stephen Dodgson. Flute, bar 38.
Motivic links found in the flute part are also used to connect Thistledown I with
Thistledown II, the fourth and final movement of the work. For example, a three bar
passage comprising triplets in Thistledown I, shown in Ex. 2.16:-
Ex. 2.16 Thistledown [from Four Poems of Mary Coleridge, Stephen Dodgson. Flute, bars 39 - 41.
is found in Thistledown II notated at half the note length and with the first note of each
triplet figure in contrary motion with the earlier passage (Ex. 2.17).
32
Ex. 2.17 Thistledown II from Four Poems of Mary Coleridge, Stephen Dodgson. Flute, bars 40 - 42.
Another feature of Dodgson's melodic lines is that some of them are particularly angular,
as in Exs. 2.18 and 2.19 below. He sees the angularity as an aspect of energy, and he links
that conception to his musical purpose:
I'm always thinking of ways to express joy!71
f\ Andante

t- ..... - r
.

mp cantabile

. .

p sostenuto
a.. a..
.
.
:J.
Ex. 2.18 Five Occasional Pieces for Flute and Piano, Stephen Dodgson, 1
st
Poco Allegro: Giocoso
j
f' .
p
f ====-=-f
Ex. 2.19 Five Occasional Pieces for Flute and Piano, Stephen Dodgson. Flute, 5
th
71 Stephen Dodgson, interview with John Mackenzie, 30th October 1999.
33
Harmony and tonality
Stephen Dodgson is generally regarded as a 'tonal' composer. Malcolm Crowther's view,
included in his article written for Performer, is a typical assessment:
Dodgson writes in a clear, direct style ... tonal, and based on 'age-old triads' and
keys. 72
His aims of directness and simplicity of line take precedence - however, although his
themes may be simple, they are neither facile nor naive. The importance attached to those
aims mean that in the course of serving them, concomitant complications emerge in respect
of harmony and tonality, and his approach to tonality is much more complicated than the
attachment of the simple 'tonal' label suggests, because of a tonal ambiguity which
permeates his work. He explained to UlfMiiller in an interview in 1982:
Everything I write is certainly strongly tonal. But it is difficult to say, except at
certain points, precisely what that tonality is. In some simpler pieces it is quite clear
what it is. But there are not many of them. On the whole there is a conflict of one,
two, sometimes three tonalities which very often arise from a major - minor mixture
as for instance in a chord ofE whether it is E major, E minor and the ambiguity that
can be obtained for using the G sharp and the G natural, and the whole extension of
meaning in that. Also, I think that my conception of tonality belongs much more with
the modes than it does with the key system ... .1 love Renaissance music and perhaps
every English composer has loved the polyphonic music of Byrd and others. In this
music, because of the many parts, the modes are never pure. They are nearly always
mixed. It may be generally a kind of Dorian mode piece, but it will have sections that
cannot be explained in terms of the Dorian mode. When I have been theoretical about
it, I have found the type of scale patterns which I [have] used tend to have more
relationship to the modes than they do to the key system. 73
It is interesting to note that Stephen Dodgson comments on his writing as if looking at the
music as an outside observer. The juxtaposition of different modes, and the conflict that
arises from the combination of multiple tonalities, contribute to the sense of constant
evolution set in train by the use of motifs which never quite appear in the same guise. It
follows that the influence that Janacek's music exerted on Dodgson in respect of the shape
and use of motifs, should extend to the realm of harmony and tonality:
A composer who has had a great influence on me is Janacek, whose music is full of
chromatic figures yet is not, in fact, very chromatic. It changes key violently and
therefore the juxtaposition of different tonalities is, in a sense, chromatic, but the
. . t 74
actual expreSSIve use IS no .
3 Stephen Dodgson, interview with UlfMilIler, p. 94.
'4 Crowthers, 'Composers o/Today', p. 29.
34
Dodgson consciously avoids chromaticism as a means of intensifying expression. During
his conversation with Malcolm Crowthers, he emphatically made the point:
Chromaticism is the seed of a degenerate force. The urge of composers throughout
the past four centuries to be chromatic in order to intensify expression, particularly
of the more melancholy and introspective type, has led to a kind of self-indulgence
in expressiveness and inward-lookingness in the artist which I consider a weakness.
I feel that intensified expression in itself is a weakness.
75
Dodgson's approach to harmony and tonality is further complicated by his :frequent practice
of displacing one of the notes that comprise a scale or mode:
1'm rather fond of some of the scales in which one note is displaced, for instance a C
major scale with an F sharp instead of an F, or a Phrygian mode (running between E
and E) with a sharpened C. I consider there's a lot of modal thinking in the use of
diatonicism. After all, the modes are diatonic!76
Although Dodgson's harmony is associated with the traditional triadic model, the
progressions and cadences do not always relate to a particular key centre. Different
tonalities are constantly being suggested, and the conventional tonic-dominant relationship
is replaced with harmony being used principally as a colouring device, with only tenuous
links with the home key. The constant suggestion of different tonalities prompts
examination of the scores to identify possible stratification and interlock, leading to a
moment of synthesis. Edward Cone suggests this approach in his Music: A View from Delft
( 1 9 8 9 ) ~ 7 7 but in the case of Dodgson's music, the identification of various strata, and
pinpointing its later integration, and its eventual arrival at a moment of synthesis, is not
possible without a considerable degree of contrivance. These difficulties arise because the
whole emphasis is on uncertainty, equivocality about rootedness and locality. A perceptible
unity is created out of the complexity that results from a multiplicity of tensions, and that
unification is the necessary goal to which anyone composition points. Necessary, because
without such a goal, there would be no cogency in the association of the component areas.
The underlying logic remains intervallic tension and relaxation, but the way in which that
logic is applied allows for greater freedom in the melody than reliance on formal models
does. Dodgson considers harmonic tensions and resolutions to be fimdamentally important
tools:
I think the sensation of forward movement is one of the great functions of harmony.
How are you to do it if there is no point of tonal arrival, ofhannonic change? When
5 Ibid
6 CrowtheIS, 'Composers a/Today', p. 28.
7 Edward T. Cone, Music: A View from Delft, ed By Robert P. Morgan (Chicago: University of Chicago Press, 1989) p. 295.
35
something happens harmonically it registers like passing a milestone. Harmonic
events are like stepping stones. This is a very important factor. That is why tonality
is fundamental to somebody like me.
78
The 'milestones' can take the form of relatively widely-spaced references to a particular
tonality, providing a point of harmonic arrival that can be relied upon: a returning tonality.
Dodgson sees it as a kind of home-coming.
79
Sometimes this tonal reference point will
take the form of a note rather than a chord, and as is the case with his motifs, literal
repetition is rare, with the returning note often finding a place in a different mode, not
necessarily as the tonic, but always performing a significant role. On other occasions the
returning tonality will be less obviously an anchor point, and may be restricted to 'coming
home' to the tonality which has dominated overall, at the very end of a piece: more of a
moment of reconciliation than the closural convergence of strata.
Piano Sonata No. 4 offers a clear example that harmonic events can sometimes be
the product of thematic process - a process resulting from a kind of interior evolution -
rather than the other way round. A chart depicting the thematic relationship which unites
the movements of the sonata is shown in Ex. 2.20 below:
1st. 3m lRld 5th movements (employing material at original pitch)
a) ~ i i
*a&kJd: =L :
b}
pJ J .; : JJ
a) _ntt movement
:J LJ .J
b)
~ ~
"
I
4th movement
~
" l--.itr
~ .",
b)
I
a)
I I
9:
tI'
j
1n
up a major third
-6- . ~ . p ~
down a m,gor third
sections a) & b) appear in reverse ordet-
new bass note found
Ie,
:u- :..---
~ :ru conflicts resove J I but their influence still acts on the melody I
.. ..".
Ex. 2.20
78 Crowthers, 'Composers o/Today', pp. 28-29.
79 Stephen Dodgson, interview with U1fMUller, p. 95.
36
The sonata employs a pair of motifs, the first of which is written in C b, later
expressed enharmonic ally as B major, with a bass which belongs to an ambiguous, but
decidedly different, tonality. In the second movement the motifs move up a 3rd, but the B
major and its effect are still heard in the second half of the movement, which comprises a
fast 3/g waltz which alternates with an augmentation of it in 3/
4
, in B b major and B major
respectively. The third movement seems to settle in B major, but it ends ambiguously, and
the 'last note' of the third movement, which resolves the motif, comes only after the fourth
movement has reached the 4th bar. In the fourth movement the motifs are transposed a
major 3
rd
lower, and they occur in reverse order. The fifth and final movement refers to
earlier tonal ambiguities until, from largo e sostenuto, the lower part settles on B major, as
if the establishment of a definite key had become necessary to allow the melody space to
fmd repose. The bass note supporting the motif is replaced by a B, but there is still the old
influence acting as the C q and D q , which have been removed from the bass, now take part
in the melody, and false relations between B major and F major recur, as the thematic
material undergoes a fresh development which extends and heightens the inherent tonal
conflict.
A minimum of harmonic support is used, its only purpose being to enhance and
colour the melody. The lines are often written in only two parts, which are given greater
intensity because they are not detracted from by too much harmonic density between them.
The resulting texture is lean, active, and airy, but not stark, the expressive character
resulting from spacing and contrast of register rather than from harmonic richness.
Dodgson's music has become progressively less dense over time, trimmed laterally and
containing less intervallic complexity. It has been his aim to simplify it in texture in order
that individual strands, whether instrumental or vocal, can always be heard. "It's a question
of getting any idea to fill just the right space". 80
Tonal ambiguity is often increased by the addition or omission of notes from
groupings which are fundamentally triadic. Omission is the more common: a C7 chord
might be represented by the C and B b only, or perhaps only an E is stated. But what is its
real place in the order of things? It could be the 3
rd
of an C major chord, or the root of an
E minor, or part of an A minor or an C # minor. Dodgson will then play upon the doubt.
Ambiguities tend to remain unresolved, as some other element overtakes them. Those notes
that do resolve often quickly reappear, and the very insistence of their reappearance
gO Bosman, 'Stephen Dodgson', p. 21.
37
contributes to a feeling of tension. Stephen Dodgson points to a cinematic analogy. A
scene is shown, and then another scene intervenes before it is finished, and before the
second one is finished the first returns, and then another intervenes creating a perpetual
interruption of one by another. One never understands one scene completely, but the whole
is made sense of by their interaction. 81
The ambiguity that is created by a mixture of modes, which may have a number of
potential roots, produces a distinct form of polytonality, but there are examples in
Dodgson's work of straightforward bitonality, as in Piano Sonata No.6. In Ex. 2.21
(below) the A minor seventh suggested in the bass is overlaid by an upper part in a major
key, the root of which, A b, is displaced by only one semitone.
1\ l..LI i
I _______

v .. '----'" r . I"
-
-
-
- 1\
- - -
-r 1
- -
-r -I
1
r-

- -

,

..
..
tE

- -
.
-

--
,
- -
-.

=;

=;
- - - -
.., -111
Ex. 2.21 Piano Sonata No. 61st movt., Stephen Dodgson, bars 42 - 47.
Whether plainly bitonal, or infused with ambiguous polytonality, almost all of
Dodgson's works end with an ordinary major or minor chord, more usually the former. It
is sometimes the only point at which the mystery of 'where is the real key note' is finally
solved. The final chord will often seem ostensibly quite unprepared, as a discord fades
unresolved to reveal a calm triad unrelated to the harmony of the moment. However it often
is related to the tonality which dominates overall, and creates a sensation not of
arbitrariness, but of closure and repose (Ex. 2.22).
81 Stephen Dodgson, interview with John Mackenzie, 24th January 2000.
, L'
fI
fI
sw---------------.
!

..:::::::::: poco
ifz
J.
II I
I
38
I I '-'
---=
:::::::=- nrp cant
Ex. 2.22 Piano Sonata No. 4 Final movt., Stephen last 5 bars.
pp possible
When glancing at a score written by Dodgson, the final chord is certainly a more
reliable indicator of the tonal centre of gravity than the key signature is, because key
signatures in Dodgson's music are rare, and it would be a mistake to draw any inference
about the tonality of a piece from its absence. He considers it safest to write without one,
because the harmonic ambivalence of much of what he writes would mean cancelling
elements of the key signature at frequent intervals. It also gives rise to fewer mistakes in
the notation, and, as always, practicality is of paramount importance. "I think it is easier
to read". 82
Another feature which immediately strikes the reader of a Dodgson score, is the
length of the note values. 3/2 and 4/2 time signatures are common, and what one might
expect to have the value of a crotchet, has the value of a minim, or even a semibreve. In
that respect his scores resemble those of Gustav Holst, and are rather like a mirror image
of a Messiaen score. One reason for Dodgson's use of long note values is that they allow
for duple/triple time ambiguity as 6/4 is juxtaposed with 3/2, but here again the overriding
consideration is practicality. He considers that it is much harder to tell the difference
between a semiquaver and a demisemiquaver than it is to distinguish a minim from a
crotchet.
1 regard the very small notation as being like the devaluation of money. It [longer
notation] does not have any artistic meaning with me. 1 just rather like it, that's all,
and 1 think it is practical. 83
82 Stephen Dodgson, interview with UlfMUller. p. 109.
83 Stephen Dodgson, interview with mfMUller. p. 96.
39
Use of rhythm
Rhythm is perhaps the foremost element in Dodgson's music:
.... [1 think] of the rhythm as the most important function of [a] piece. When the
music is fast and physical in feeling, I've tried to think through the rhythm. And the
rhythm is the most primitive constructive power for me. 1 will often think of
rhythmic shapes before 1 consider their constituent notes'. 84
The absence of that primitive power from much contemporary music is the principal cause
of Dodgson's antipathy towards it:
.... contemporary music often does seem tending to rhythmic inanimation; so that
pieces which are full of interesting detail make overall a dreary and feeble effect;
almost as though they dared not risk motion in any direction in case it proves a wrong
one. 85
1 feel cheated by music which lacks a rhythmic undercurrent, because rhythm is to me
so much a natural attribute of life itself, that 1 never really feel happy with music in
which 1 can't readily perceive it thereto.
86
In Dodgson's music, this undercurrent takes the form of a simple, steady, subterranean
pulse, against which is set a foreground of complex rhythmic detail. Thus his use of rhythm
generates a forward momentum, as incisive figures themselves generate urgent rhythms
which ride the tide of the underlying pulse, or surge through it, or weave contrapuntally
around it.
This characteristic is especially apparent in Carillon for Two Harpsichords (part of
which is shown in ex. 2.23 overleaf). Carillon comprises a number of short motifs set
against an absolutely regular background, but the listener cannot anticipate where the motifs
are going to appear. It forms a kind of montage of recognisable pieces, but their position
in the montage is unpredictable. Thus Carillon illustrates another Dodgson characteristic:
entries of motifs with accents falling on different beats of the bar.
84 Crowthers. 'Composers of Today' , p. 28.
86 'The Music Programme', broadcast on the BBC TbirdProgramme 23.11.66.
40
(Moderato e Maestosoj
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Harpsichord I

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Ex. 2.23 Carillon/or Two Harpsichords, Stephen Dodgson, bars 65 -71.
Although Dodgson's rhythms tend to give rise to a pressing-on sensation, he uses a number
of devices to check the tendency, and create a static effect. One such device is the
employment of a rhythm which has impetus, to drive a harmony which does not progress,
giving the impression of moving on the spot. Examples of this are found throughout
Wayzgoose,87 the last of Five Occasional Pieces for Wind Orchestra, which together form
Bandwagon. A short motif opens the work (Ex. 2.24)
and all the following motifs are derived from it to
form rhythmic cells, as sprigs are formed as a little
is either added on or taken off. Ex. 2.24 Wayzgoose, B b trumpets, bar 1.
The cells range from small to tiny, although there is always some motivic engagement,
providing a flutter of movement with little suggestion of pending development. The section
87 i.e. a slang tenn for a printing house's annual outing.
41
from bar 29, shown in Ex. 2.25, is typical of 'moving on the spot' rhythms which permeate
the piece.
Allegro VIVace (J= J60)
1\
Pice
- ...
... ... ...
- - -

-
- -
fslacc

Fis

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Obs
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Sir. Bass
p
Ex. 225 Wayzgoose, the last of five pieces that fonn Bandwagon: Five Occasional Pieces for Wind
Orchestra, Stephen Dodgson, bars 29 - 31.
42
Another means by which Dodgson creates a static effect is found in a section of Sonata for
Violin and Piano, (Ex. 2.26) in which each instrument has its own two note motif in direct
rhythmic conflict with the other. The passage is deliberately simple - there are no other
elements getting in the way of the and so attention is concentrated on the
combatants and nothing else. The tension generated seems to have no relief, and it is the
seeming inability of the combatants to escape from it which produces the stasis, which is
reinforced at figure 8, which sees an end to the conflict as the piano takes over with a
neutral chord, but which continues to resist resolution.
Allegretto
------...
,

Violin
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r
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43
"
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sonore
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-

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piuf
sost

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Ex. 2.26 Sonata for Violin and Piano, J st movt., Stephen Dodgson, bars 62 - 89.
44
In the third movement of the Sonata for Violin and Piano, a baroque style figure ends with
the obsessive repetition of a rhythmic motif (Ex. 2.27).
VTVACE MA MODERATO
1\
.;
-
1\ is;] n 11 L1 f'- J I J I I I I I I
Violin
.;
-
I
Piano
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.
I r

It.. II
"r
u
1\
.;
1\ I
.;
TI 'Jl
diminuendo
f- ..
"
J.I
.
7J
I
Ex. 2.27 Sonata for Violin and Piano Sonata 3td movt., Stephen Dodgson, bars 34 - 38.
Ending phrases with obsessively repeating motifs, or injecting such motifs into phrases,
suggests another influence of Janacek, and the more recent influence of early Tippett.
Rhythm versus metre
However one must look back much further, to the 1 &II century, for the provenance
of another feature of Dodgson' s use of rhythm:
I think that in order to appreciate excitement in to feel that rhythms are in fact
strong, there has to be somewhere a metre of a kind in the music, and so somewhat
again depending upon old ideas of rhythm where the barline was simply a guide to
keep the performers together and the rhythms went freely about the place. I am
rather attracted by the idea of music in which the time signature does not change, but
the rhythms have an enormous freedom across the metre. 88
In sections of No.5 of Five Occasional Pieces for Flute and Piano (see Ex. 28) the note
groupings are allowed to cross the bar lines, and chords are displaced from their original
position in the bar. At intervals a piano ostinato pins down the flute, which 'conforms' as
long as the ostinato endures, but otherwise the rhythm is free from evenly recurring bar-
88 Stephen Dodgson, interview with UlfMiiller, p. 97.
45
metric stress. The re-orientation that the ostinato provides is necessary because otherwise
the rhythmic departures would not make sense; those elements which refuse to obey the
time signature need to be balanced against those which do.
Poco aHegro: Giocoso
.. I
.......

4411 t*-
Flute

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_ TT
7
11
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Piano
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48 II
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espress

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mp
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CD

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t::
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- -

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.. ..

..

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tJ
I
r bUd
r I r I r 1 T
bbb
Ex. 2.28 No.5 of Five Occasional Pieces for Flute and Piano, Stephen Dodgson, bars 44 - 57.
46
In No. 5 of Five Occasional Pieces for Flute and Piano, the time signature remains
unchanged, and the bar-metric stress vacillates constantly within it. In No.3 of Five
Occasional Pieces for Flute and Piano (see Ex. 2.29), time signatures make some note-
groupings particularly explicit, while others refuse to 'obey' the bar lines - for instance, the
last four bars shown below (in 4/4 time) have an additive quaver rhythm of2 + 2 + 2 + 3,
but this is not made explicit. The reason for the apparent discrepancy is that Dodgson
makes a distinction between discrete cells in which there has been a real departure to a new
metre, and occasions on which rhythm is acting in temporary defiance of a continuing
metre. In the latter case, the time signature is still governing the and is merely held
in abeyance, until the bar line "re-asserts itself' in a kind of advanced syncopation. 89
However, when there is a large number of perfonners he is likely to subscribe to the
convention of always specifying the time signature to coincide with the note-groupings as
an aid to a conductor.
Vivace: Scherzaodo I 132J

:>-
1'1 . .:. ..
Flut e
.......
'-"
-
....
'-"
f
v 1'1
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f
i

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:
--.J

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-e: -e: -e: -e: ;;;......-, t"-+-

..
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v "

.;.. IN.. ...
-..r
"
-
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41- ...

;J:.
Ex. 2.29 No. 3 of Five Occasional Pieces for Flute and Piano, Stephen bars 1 - 12.
89 Stephen Dodgson, interview with John Mackenzie, 31st July 200 L
47
In the foregoing example, the rhythm was made free from evenly recurring stress through
continually changing note-groupings, some of which did not relate obviously to the
prevailing time signature. A different means of achieving the same objective is employed
in Dialogue, the second of Five Occasional Pieces for Cello and Piano. Here the time
signature only suggests that there are four beats in a bar, without stipulating how long the
beats are (see Ex. 2.30). The cello and piano never have to play together, which, as well as
circumventing practical difficulties that might otherwise arise, creates a free flowing
exchange that is reminiscent of Debussy. Dialogue is unique in Dodgson's output in respect
of its time signature; he has written no other piece in which the magnitude of the beat is left
unspecified.
ten.
- .
Cello
.
0
p

'-- '--
--
>-
Tempo libero e nervoso -====
=====-
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Piano l(4)
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.

(hmga)
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.; I,000o''''
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pp poss.
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-::
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Ex. 2.30 Dialogue, No.2 from Five Occasional Pieces for Cello and Piano, Stephen Dodgson, bars 1 - 11.
48
Form
Speaking on the occasion of the premiere of his String Quartet No.1, and acknowledging
the influence of a n a c e ~ and in particular Janacek's second string quartet, Intimate Letters,
on the construction of his own, Dodgson noted:
.... expressive ambitions .... [and] structure .... [are] inseparable. Which is how they
should be. Expression is only gesture if it lacks structure; and structure is mere
formalism if the music is only "poured into it", as it were. 90
If the one-movement-growing-out-of-another structure of Intimate Letters had inspired
Dodgson as he wrote the String Trio No.2 in 1964, it had become established firmly in his
mind by the time he wrote the String Quartet No. lover twenty years later. Of course the
movements that comprise Intimate Letters have their own identifying themes in addition to
the common stock of cells which occur elsewhere, and invade them; but as the quartet ends,
one is left with the impression not of having experienced four separate movements, but of
a single one divided into four distinctive but overlapping chapters.
Dodgson distinguishes clear-cut forms in which the divisions between sections are
readily discernible, from what he regards as 'blended' forms without readily discernible
boundaries. The blend arises as he makes use of motifs which are shared, unexpectedly,
between movements which are otherwise totally independent. The intention is that, rather
than acting on the conscious mind, a hidden structural device will act on the subconscious
mind. Thus the borderlines become blurred, less noticeable; and the listener gradually
becomes aware that the piece has evolved into a new section.
The Flute Concerto (1991) is a good example of this process at work. Each of its
three movements is in rondo form, and the first movement runs straight into the second.
The rondo theme (shown in Ex. 2.31) is established in the frrst movement:
MoIto moderato: sempre cantabile
Flute
~ ~
, ,
p
3
Ex. 2.31 Concerto for Flute and Strings, Stephen Dodgson. Flute, 1 st movement, bars 1 - 3.
During the second movement, the shape of the motif is separately re-introduced in both the
flute and string parts (examples 2.32 & 2.33):
90 Talk given at the Cheltenham Festival. 15th July 1987.
49
Flute ==-

Hlp scherz: leggiero
Ex. 2.32 Concerto for Flute and Strings, 2
nd
movement, Stephen Dodgson. Flute, bar 1.
Strings
, ! } 1J1 r F crl rbe 01 F J 4131 J J J
Ex. 2.33 Concerto for Flute and Strings, 2nd movement, Stephen Dodgson. Strings, bars 16 - 20.
However the varying pitches and registers at which the motif is employed in the flute part,
and the richer setting of the strings, are sufficient to disguise it, at the conscious level at
least.
When speaking of form during his interview with UlfMilller in 1982, Dodgson again
identified with the pre-classical era:
The one classic form that I really honestly never use much is the sonata form. The
type of rondo forms which are, of course much older, appeal to me very much. The
idea of the recurring feature which may grow or may go smaller - the idea of the
returning statement. I developed a type of double rondo in which both of two
features return alternately in changing perspective. I think that most of my forms, in
fact can be traced quite clearly to earlier forms of music. Many of them are pre-
classical. But I believe I have developed them in a way that is quite unlike anything
to do with the original meaning.
91
The one available score which clearly illustrates Dodgson's use of sonata form dates back
as far as 1959: his Piano Sonata No. 1 in F major. The first and second movements are
unambiguously in sonata form, and the third is in rondo form. In the opening Allegro con
brio (the first four bars of which are shown in Ex. 2.34) the first subject comprises a rising
motif in which two short notes are followed by a longer one:
ALLEGRO CON BRIO
II 1"'"'"'1 1"""1 I /:
!: r

I
r
-.J.. I
- -
-
'lTlp
- -
p
f
f

-
bllf. I ri1
....,
1 ==-
.
.

p-.
,,-../" ,./
Ex. 2.34 Piano Sonata No.1, 1
st
movement, Stephen Dodgson, bars 1 - 4.
91 Stephen Dodgson, interview with UlfMOller, p. 10 L
50
The subject is expanded before being contrasted with a second subject in the expected
dominant key (Ex. 2.35).
.
.
P dolce e legato -===== =====-
J ~ J
Ex. 2.35 Piano Sonata No.1, r movement, Stephen Dodgson, bars 22 - 24.
A light, playful, third theme is then introduced (Ex. 2.36):
S m - - - - - - - - - - - - - - - - - - - - - - - - - ~
.
.
p leggiero
Ex. 2.36 Piano Sonata No.1, r movement, Stephen Dodgson, bars 32 & 33.
~ ~
This leads to the development section in which the initial theme is presented in a number
of different perspectives, including the neo-classical style of the third subject, before
swelling to a climax, whereupon it is emphatically stated in octaves, signalling the
recapitulation. Decorated with trills, the first subject continues quietly, before repetitions
of the second and third subjects in the tonic key. The movement is left open-ended as an
extended coda, which further develops the initial motifs, concludes with an F major triad
with an added minor seventh.
The slow movement, Poco Adagio, is in Db major - the flat submediant of the home
key - and in that respect is reminiscent of Beethoven's later piano sonatas, and those of
Brahms and Schubert. The rhythm of the first subject shares the shape and pattern - a rising
short-short-Iong - with the initial subject in the first movement (Ex. 2.37).
51
Poco adagio
1\
Ex. 2.37 Piano Sonata No.1, 2nd movement, Stephen Dodgson, opening bar.
It undergoes development until the appearance of a contrasting second s u b j e c ~ in chords
and octaves over an Alberti bass (shown in Ex. 2.38).
pocof
J .
.If
Ex. 2.38 Piano Sonata No.1, 2nd movement, Stephen Dodgson, bars 15 - 17.
The key moves from the tonic minor (enharmonically expressed as C # minor) to A # minor,
but then shifts a semitone to close on A major, in which key the first theme resumes. Both
themes are developed against a background of dotted and syncopated rhythms, which leads
to the reprise of the original D b major. The second theme is finally repeated a semitone
higher, in D minor, before the concluding tonic cadence.
The rondo form of the final movement is constructed A B A' B' A", where the A
section comprises an ironic waltz theme; the B section a melody in two-part texture
interspersed with repeated notes, and which concludes with a cadenza; and the B' section
is a derivative of the B section, but made less lyrical by the use of staccato.
Since 1959, and Piano Sonata No.1, Dodgson has eschewed the use of sonata form.
One could speculate that his early work with R O. Morris, writing according to the tenets
of Thomas Morley in his Plaine and Easie Introduction to Practicall Musicke has left a
lasting imprint on his style. It is notable that in the second movement of Piano Sonata No.
1, considered above, there are shifts in the tonal centre of a semitone: a kind of sidestep,
characteristic of Dodgson' s writing, which is inconsistent with a view of sonata form if that
view centres on tonality - on large scale tonal areas, and their interaction and resolution;
52
and while a basic tonality can often be identified in Dodgson's writing, it can seldom be
expressed in terms of any particular key, such is the tonal ambiguity with which his music
is infused. If sonata form is viewed from the standpoint of contrast between stages of
development, there is another difficulty, because development to Dodgson means something
different from the kind of core progression one might find in the music of a late nineteenth
century composer, to whom tension and relaxation was implicit in the tonic/dominant
relationship. Dodgson understands development as the interplay between two types of
material, derived from motifs. He forms them in various ways, or deforms them by
compression or expansion, and subjects them to re-harmonisation and combination, as the
same material is seen in a different perspective. Forms that are conducive to this kind of
treatment, and those with which Dodgson identifies most closely, are those that he
associates with the pre-classical era: rondo form and variation form.
He uses the rondo form in three ways. The refrain may stay the same, or largely so,
but no episode will be repeated; or at least one of the episodes returns; or there is a
straightforward alternation of 'A' and 'B', in which at least one, and more usually both
elements develop or alter on re-appearance. The first of these is comparatively rare in
Dodgson's music, but the second and third approaches are found frequently, both fitting
nicely with his attraction to a returning tonality as a kind of home-coming.
Variations provide a means by which the creation of an extended structure is possible
with the minimum use of different, definite, keys. They may take the classical form of
different treatments of a theme, e.g. Biirmann's Treasure for clarinet and piano (1986)
which is based on a theme by Weber, and Orion for brass quintet with clarinet quartet
(1984) in which the theme is Dodgson's own. Piano trio No.1 (1967) is a theme-and-
variations in reverse, in which the theme on which the variations are based (from a song by
Robert Jones, Methought this Other Night) is eventually revealed at the conclusion of the
piece. Its successor, Piano Trio No.2 (1973) is a series of canonic episodes.
Concerto Chacony for recorder and strings (2000) is, as its title suggests, a chaconne:
variations on a ground bass. At first sight, Dodgson's Sonata-Divisions for harpsichord
(1982) (see Ex. 2.39) seems to fall into the same category, but closer examination reveals
a more complex structure. The theme does have the nature of a ground, as it is always used
as an underlying, long-noted cantus firmus, moving unalterably through the nine notes that
comprise it:
53
G B Eb Ab c G B F E.
un poco piu mosso

,

l'
I
:
,
-

,.., II
,
I ..
poco liberamente

'"""" I
,
..
:
'"

Ex. 2.39 Sonata-Divisions, Part One, Stephen Dodgson, bars 14 - 22.
In overall design however, there is an interaction between the detailed form of each
variation individually, and the large form inherent in the four distinct parts into which the
Sonata is divided.
Part One (see Ex. 2.40) is divided into seven sections. There is no modulation, but
canonic devices proliferate, and by the time the sixth section is reached, these involve the
ground moving at several different speeds, those in shorter note-lengths moving through the
note pattern several times as the underlying part makes a single transition, close derivations
from the ground giving rise to all the faster moving strands.
un poco piu vivace
.
.
(l + II)
Ex. 2.40 Sonata-Divisions, Part One, Stephen Dodgson, bars 118 - 123.
54
Part Two contains three sections, each of which utilises a circular minor 3rd
transposition. The last note, E, becomes the first note of the second limb. The last note of
that limb, C #, becomes the fITst note of the next, and so on through B b and back to G.
G
E
C#
Bb
B
G#
F
D
Eb
C
A
F#
Ab
F
D
B
C
A
F#
D#
G
E
C#
A#
B
G#
F
D
F E
D C#
B A#
Ab G
Part three is a breathless scherzo, and its four sections continue with the long form
tabulated above. Taken together parts two and three fonn an enlargement of part one. Part
four comprises three sections, each of which makes stately progress through a single
variation on the original ground.
In some instances Dodgson uses harmony as the variation element. A chord will
persist or return, while other elements are different; and in those cases, although the listener
will be unlikely to notice, to 'see the scaffolding', it is the harmony which is the central
genn of the piece.
In other cases the rhythm performs a similar function. In Piano Sonata No. 3 (1983)
(see Ex. 2.41) the theme comprises a series of four isolated and equally-spaced phrases, the
rhythmic density of which provides the constant foundation of each variation. This
'density' is defined by the number of regular attacks (referred to by Dodgson as 'pulses')
contained in each phrase:
Phrase 1
Phrase 2
Phrase 3
Phrase 4
4
2
2
3
5
3
3
2
5
3
7
8 : 20
10
A 'Codetta' of three very slow pulses follows only in those variations in which a particular
finality is required.
55
Andante con Moto
"
r 1
-1
.fi
otT I F' I
I I
....

I
"
I
.
cantabile sostenuto
-... ..;
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(
I I J II I I
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J

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.,

molto p
.
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-

;.t.
Ex. 2.41 Piano Sonata No. 3, Part One, Stephen Dodgson, first section.
I J
I
-
In
I
r--ri
I
-
I
-I
I
I
fL .-..
II
I
I
I
I
I
I
-
I
I
I
I
I
I
I
I
I
I
I
I
As the variations unfold the sequence remains the same, but the pulses, especially in the
faster variations, become accent points among many less significant notes moving more
quickly. In particular, there are two waves of intensity as the groups of ten and twenty
pulses are approached.
The overall structure of the Sonata is in three parts. Part One comprises the
statement of the theme followed by five variations. In the :first variation nearly every pulse
has its 'echo' in the opposing hand. The second variation is more smoothly polyphonic; the
56
third is a dance-like scherzo; the fourth is an Agitato, the agitation resulting from
irregularity in the pulse-groups, although the phrases continue to be equally spaced; and the
fifth is a re-statement of the theme, but in a sustained chordal texture.
Part Two is a long three-part invention, each part having the complete pulse
sequence. Each voice proceeds at a different speed, the middle voice having the fastest and
the lower voice the slowest.
Ex. 2.42 shows the middle voice moving through phrase 1 (4: 5 : 2: 3 : 10) while the lower
voice finishes the last three pulses of the group of ten and completes the first two elements
of phrase 2.
.
.
.
.
1 2 3 4
8 9
1
- ,
2 3
= _ ~ 7 ~ _____ -,J
~ 2
1'----
1 2 3 4
5
10
1 2 3 4 5 6 7 8 9 ~ 0
Ex. 2.42 Piano Sonata No.3, Part Two, Stephen Dodgson, bars 20 - 25.
1 2
I
3
The upper voice intricately intertwines with the others, until, over a final sustained bass
note, the upper and middle voices join forces for a final run through the entire sequence.
As was the case with Sonata-Divisions, the differing speeds of the voices means that the
fastest voice must repeat itself several times to match the single transit of the slowest-
moving voice in the bass. A condition or'the commission of the work (by the American
pianist Kevin Kiddoo) was that it should be conceived as a contemporary tribute to Bach
in the tercentenary year of 1985, and it is in this Part that that influence is most apparent,
as the Bach-like counterpoint is weaved.
Part Three follows without a break:, and comprises six sections to balance Part One.
It opens with a scherzo, which features sudden contrasts of dynamics. Ex. 2.43 shows the
first phrase.
AIle groDeciso
fI

I
@J
;
fI
@J
fI
@J
1
>-
I , I
(2.'
I-

{f
1
8N----.

.
ff
.

2

..
3
>-
@J
P scherz.

:::>-
,
2 .J
:::- :::-
li
#li
"
.
-
2
:::-
I
>-
4 5
>-
>-
--
I
r
57
4 2
:::-
:::-
:::-
I I

P
scherz. 6.

1,1 1/
1 2
:>-
e:
-,..
l- f::
.
.e-
li...:..
6 7 8
9
10
>-
I
,
..
-,
7
t!
Ex. 2.43 Piano Sonata No.3, Part Three, Stephen Dodgson, bars 1 - 11.
3
4 5
:::- :::-
:::-
,
I
..
6.
1,1 -

3
f::
:>-
11""
Y
>-
..
The second section has an emphatic melody in octaves and sixths against a background of
repeated arpeggios. The intensity continues to increase in the third section as the left hand
disrupts the theme with an insistent broken octave and in the following variation the
pulse groups have to struggle to retain their identity as relentless triplets almost swamp
them. The penultimate variation provides the declamatory climax of the Sonata, as the
theme intersperses with dramatic tremolandi. There is a serenity and evenness to the final
variation which is set to a triadic harmony in C where it finally comes to rest.
While rondo and variation forms are favoured by there is a range of other
forms to which he will resort occasionally. For instance the slow movement of the Violin
Sonata is in ternary form, and Meet Me In Botany Bay for voice and piano (from the second
series of Bush Ballads) is strophic. Sometimes constructional devices are applied to a
whole work in separate or linked movements to achieve an overall unity among diverse
elements, especially when the individual movements are quite short and their internal form
fairly simple. The seven movements which comprise Partita for 10 wind instruments are
grouped in a mirror image:
58
March 1 - Scherzo 1 - Romance (part A) -- Interruption (Burlesque
of the March) --- Romance (part B) - Scherzo 2 - March 2
The movements pivot around the Interruption at the centre, itself splitting the Romance
down the middle. Plaything, the second of the five pieces for wind orchestra which form
Bandwagon, comprises five groups of twenty five bars, and each group of twenty five is
made up of five, five bar segments. The time signature is 5/8, and the rhythms and motifs
rely on permutations of the same idea.
Stephen Dodgson's music is not easily susceptible to labelling. He exhibits none of
the proclivities of modernism, but his writing is unmistakably that of a modem man. Many
elements associated with those in the vanguard of the neo-classical movement are absent
from his style: there are no grotesque elements; no unsettling mix of ingenuity and the
macabre; no grim, unsentimental irony - on the contrary, joyousness is a feature of his
musical purpose. However, the shedding of extra-musical influences, the unemotional
harmony, the pungent rhythms, and the paring-down to essential notes, combine to mean
that the closest label available to attach to his musical language is indeed that which reads
'neo-classical' .
59
CHAPTER 3
Stephen Dodgson's approach to the guitar
Why Dodgson writes for the guitar
Stephen Dodgson did not seek out the guitar in a quest to find an instrument conducive to
his mode or style of composition. His attention was solicited, by Julian Bream, after
Dodgson had become faintly aware of the guitar's possibilities through his tenuous
introduction to it by Alexis Chesnakov (see Chapter 1). So in a sense the guitar world
sought him, and as Dodgson viewed that world, what he saw was a fresh field. It certainly
had a tradition behind it, but not in the sense that, say, the piano or the violin does. The
guitar to which Dodgson was introduced in 1950 was quite young. It was not until the
second half of the nineteenth century that Antonio do Torres Jurado (1817 - 1892) increased
the size of the guitar to that which has since become 'standard'1 (although subtle variations
in specification are experimented with even today) and so much of the established
repertoire, written by composers such as Robert de Visee (1650 - c.1725), Mauro Giuliani
(b. 1780), Fernando Sor (1778 - 1839), Ferdinand Carulli (1770 - 1841) and Matteo
Carcassi (1792 - 1853), was written for an instrument with considerably less volume and
a much more restricted tonal range. Some notable composers had written for the modem
guitar, such as Heitor Villa-Lobos (1887 - 1959), but it remained a rather insular and
unexplored world, although young, enormous, enthusiastic, and ripe for cultivation.
Dodgson was to say thirty years later "I think the guitar still has not got a repertoire that
fully satisfies the instrument .... "? Hence what he saw was an opportunity to participate at
the beginning of a new tradition.
A second incentive to compose for the guitar was that the music was wanted. Each
composition would lead to a commission for another. Julian Bream introduced Dodgson
to guitar playing at a high level, and John Williams was to take him on a virtuoso
exploration of it, through a series of commissions which, as other guitarists followed their
example, has continued up to the time of writing. The blank canvas which Stephen
Dodgson saw, and the invitations that he received to fill it, or to make a contribution to that
objective, are almost independent of the instrument itself; but other reasons to compose for
1 John Monish, 'Torres: Life and Work' in The Classical Gttitar: A Complele History, ed by John Morrish (London: Balafon Books, 1997), pp.
16-17. What became known as the Torres guitar featured soundboards about 20 per cent luger than those of concert guitars played earlier in
the century. The extra area is in both upper and lower bouts, giving the plantilla of the Torres guitar the figure-<lf-eight fonn we now take fur
granted, and from about 1857, Torres used a separate saddle, permitting minute adjustment of string height.
2 Interview with UlfMUller, November 1982, (lIDpublished master's thesis, lnstitut MUnster, 1983), p. 75.
60
the guitar were specific to it. One was the challenge that it poses to any composer:
... the difficulty of composing for it [the guitar], and as idiomatically and
distinctively as possible, now this is a challenge to the imagination and compositional
technique; and that appeals to me.
3
And it is difficult not to conclude - given the characteristics identified during the
exploration of Dodgson's musical language made in the previous chapter, that because the
guitar of necessity suggests music on a compact scale, inviting quiet and delicate ideas - that
it corresponded to his affinity with economy.
How Dodgson regards the guitar
Dodgson states that it is his objective to give the medium priority over any abstract theory,
rather than to carry a style over from medium to medium:
The guitar does not readily accept ideas imposed on it that have been conceived in the
abstract, but is responsive to musical ideas that evolve from within.4
I've always imagined that the reason that rve found myself for example writing so
much guitar music isn't because of what I said through it; but because I was
prepared, eager, insistent that the message would look after itself if I only cared for
the medium enough.
5
Another view that is fundamental to any composer's approach to the guitar is whether it is
considered as a harmonic instrument - a small piano as it were, or a melodic one, and on this
Dodgson is absolutely clear:
It is definitely a mistake to think of the guitar (as many do, apparently) as :first and
foremost a harmonic instrument; a mistake, because it leads the innocent into writing
too many notes.
6
More and more I've come to think of the guitar as a melody instrument.
7
How Dodgson uses the guitar
Having formed a view with respect to the type of instrument the guitar should be considered
to be, there arises the question of how to become sufficiently familiar with its topography
and other characteristics to write for it effectively. Most composers for the guitar are also
guitarists, and so that familiarity is pre-existent. Dodgson was not and is not a guitarist, and
two considerations have prevented him from wanting to learn. One is that he never felt he
would have enough tecluiique without devoting enormous amounts of time to serious
3 Lance Bosman, 'Stephen Dodgson' Guitar Magazine, (March 1983), 17-21 (p.18).
4 Colin Cooper, 'Stephen Dodgson at Prussia Cove', Classical Guitar, (November 1985), 19-20 (p. 19).
5 Talk given at the Cheltenham Festival, 15th July 1987.
6 Stephen Dodgson, 'Writing For The Guitar' Guilar, (January 1984), 13-16 (p. IS).
61
study.
8
The other is that there is a debit side to that familiarity - it comes at the cost of
conditioning. As a guitarist learns the repertoire and studies the literature, he is inculcated
with a 'programme of expectation' which is reinforced by his teacher and peers. Certain
types of patterns are expected, as is the exploitation of certain tonal characteristics, and his
thoughts are skewed and channelled in a predictable direction. Dodgson never studied the
literature. What knowledge of it he has, has been acquired by attending guitar recitals, and
he is only aware of it to the extent of an educated concert-goer.
9
Hence the trap of merely
imitating what has been done before was avoided, appropriately so, for a composer at the
beginning of a new tradition, since the characteristics of that pre-existent material belong
to a different age. His approach is therefore unprejudiced by the influence of training,
lending freshness and innocence to his work:
It would be nothing but a disadvantage to me to try to learn to play the guitar. I'm
sure it would have inhibited me from writing freely for it. 10
However, there remains the practical matter that one must know what is possible - to refer
back to a tenet of Dodgson's philosophy: " ... .ifit is not practical nobody is going to want
to play it" (p. 15 ante) - and there also remains the need for a composer to train his thoughts
to accommodate the fundamentals of guitar technique, to 'get inside' the instrument for
himself, not as a guitarist, but as a composer.
To satisfy the first of these objectives, Dodgson resorted to a home-made chart of
the guitar fingerboard. The chart shows what note is produced at each fret on each string,
and the proportional narrowing of the distance between the frets, which reduces as the left
hand moves to higher positions (a copy of the actual chart made by Dodgson is reproduced
in Fig. 3.1). By picturing the span of the fingers, the shifts from one position to another,
and the stretches involved in playing two or more notes simultaneously, he gradually
acquired a feel for what would and would not prove to be playable. During the composition
of guitar pieces the use of the chart proved to be a reliable guide to the practicability of a
work, and the frequency with which he needed to pause and check the efficacy of a
particular proposition diminished over time, although there grew a complementary
instinctive caution to make a quick reference to the chart should a more daring idea present
itself in the heat of the moment.
8 Timothy Walker, 'Stephen Dodgson in conversation with Timothy Walker', SOUNDBOARD, Winter (1991), 13-2] (p. \9).
9 Interview with John Mackenzie, 24th January 2000.
10 Gilbert Biberian., 'In conversation with Stephen Dodgson', Guitar, 1 NO.8 (March 1973),20-22 (p. 21).
62
Jill \
Fig. 3.1 Guitar fingerboard chart
63
Collaboration
To meet the second objective - a s understanding of the s
Dodgson had to acquire an inside involvement in how a guitarist's hands cause the strings
to produce the variety of sounds that are available, without becoming a guitarist himself.
It was a question of learning to play the instrument in the and his first' lessons were
with Julian whom, having watched him play often, Dodgson would picture mentally
as he was thinking about what to write.
I think by observation and experience, being attentive and being always
with eyes as well as ears, you can "feel" what the instrument can do. 11
Dodgson found that by using his imagination in this way, notions of texture, tone and
rhythm which were quite distinct from those that he would imagine for another
would come to his mind with a certainty which increased in direct proportion to his
understanding of what concepts were suited to the guitar, and his growing instinct for laying
them out effectively.
Like all growing up, it was at times a painful process; it was almost as bad as having
to learn to play the guitar. I say that lightly, but there's some truth, because I did
learn to play it with quite a vivid picture of hand positions even as I was imagining
what notes to write. 12
It was not only the use of the chart and Dodgson's 'mind playing' of the guitar that released
in his imagination sonorities and figurations peculiar to the guitar and hitherto never
thought of. Contemplation of the restrictions inherent in guitar technique also began to
shape the ideas, so that as well as imposing limitations, he found that practical
considerations could act as a stimulus to the creative process. 13
As a non-guitarist, Dodgson has necessarily had to place some reliance on an
'editing' guitarist, and as each of his guitar pieces has been written for a particular
performer, there has always been a guitarist available. In the early days Julian Bream would
point out passages that were impractical and demonstrate why it was so. For instance the
alternatives in Partita No.1, although it was written for John Williams, were included at
Julian Bream's suggestion, because of the difficulty of playing a full barre at or beyond the
12th fret, where the guitar's body gets in the way (see Ex. 3.1).
II WaIkerJn Conversation with SJephen Dodgson, p. 19.
l3 Interview with John Mackenzie, 24th January 2000.
64
94
0
.
ossia
0
I;
J
I
I
#)
I i

"1,4

Ii
h
a
"I
1
"I
I
,
"1 @!
Ex. 3.1 Portita No. 1, movt., Stephen Dodgson, bars 3 & 4, and 94 - 96.
Confusion regarding the notation of harmonics in the first P artita was also cleared up by
Julian Bream. The fingering was put in by John Williams, although he included only that
which he considered to be necessary to made the composer's intention clear.
14
However, there are three dangers in relying too heavily on editorial assistance. The
first is that the guitarist might unwittingly bring his own pre-conceptions to bear, his
suggestions channelling the music into patterns with which he is familiar through the
existing repertoire. On the other hand, if the composer lets his imagination run free and
leaves technical solutions to the guitarist, it may result in a conscientious player desperately
searching for a way 'to give idiomatic utterance to musical material which was
instrumentally unsuitable in the first place' .15 The third danger is that if the composer never
dares to fly the nest, his reliance on editorial assistance may prove an obstacle to a personal
discovery of the guitar from the inside out: lessons learned by personal discovery are so
much more thoroughly absorbed. To avoid these dangers Dodgson has done his utmost to
think out each piece for himself, and only then consult the whose advice will be
appreciated all the more realistically. Dodgson handed over the later pieces, written for
John Williams, in fully finished form, although written in pencil as a precaution, whereupon
final adjustments could be made. He also began to include his own fingering, although its
purpose is not to instruct the player, but merely to advise him of the place on the guitar for
which a particular note was conceived.
When one learns to play an one goes through a stage where each
movement seems to require great effort and concentration of will. In time one becomes
accustomed to the movements, and much of the mechanical work is delegated to the
subconscious, allowing more room in the mind for creative thinking to come to the surface.
In the early seventies, when Dodgson was writing his second guitar concerto for John
14 Interview with John Mackenzie, 24th January 2000.
15 Dodgson, 'Writing For The Guitar', p. 13.
65
Williams, he felt that his 'mind playing' had reached that stage: that his imagination and
practical knowledge had fused, and that his instinct was shaped by them even before he
began to think. His experience had fostered such an easy familiarity with the guitar that he
could sense guitar technique: the layout, the texture, where to put the notes. He would still
picture the particular guitarist for whom a piece was intended, sitting on a platform or in a
room where he was used to seeing the player at o r ~ playing to and he tries to ensure
that what he writes will suit them - not only the player's technical abilities, but also their
personality. 16
The characteristics of the guitar
A composer for the guitar needs to be wary that his determination not to tread an already
well-trodden path does not result in his completely subverting and stifling the guitar's
natural characteristics.
Arpeggios
The six strings of the guitar invite the player to sweep the hand across them: either quickly,
in which case the notes seem to sound simultaneously, or more slowly, the result of which
is analogous to the sound produced by the sweeping motion of a harpist's hand, although
the notes are fewer and more widely spaced. A downwards motion of the guitarist's hand
moves from the lowest sounding string to the highest, and so an upwards motion causes the
highest string to sound first and the lowest last. When the hand is placed above the strings
and the fingers are used to strike them individually, there is a natural tendency for the thumb
to be placed over the lower strings, and the index, middle and annular fingers to be stationed
either above the third, second and first strings respectively, or else above the fourth, third
and second strings. A minor 6/
3
chord is produced when the third, second and first strings
are sounded together, and a major 6/
4
chord occurs on the fourth, third and second strings.
Parallelism
To change the pitch of these chords the guitarist's left hand traverses the fingerboard,
shortening the length of string which is allowed to vibrate, and thereby raising the pitch of
the notes, as the hand gets nearer to the sound hole. The same principle applies to single
note passages: provided there are no open strings involved (which are of course of
predetermined pitch) a passage can be transposed by whatever interval is required simply
by moving the hand the required distance in the appropriate direction.
16 Walker, In Conversation with Stephen Dodgson., p. 17.
66
Resonance
There are circumstances in which ornaments such as trills, turns and mordents can be played
on separate strings, and other occasions when they have to be articulated by slurring with
the left hand only, with just the initial note being sounded by the right hand. The resulting
effects are rather different, the resonance of the guitar causing the former technique to
produce an expansive, declamatory result as the notes which comprise the ornament overlap
one another, whilst the latter technique gives rise to a more compact effect, not only because
of the absence of the impact of right hand finger action, but also because each successive
note silences the preceding one. Similar situations continually arise outside the context of
ornaments. If the notes are allowed to overlap, a passage articulated on separate strings can
be made to sound quite different from the same passage played on a single string.
Open strings
The open strings exercise a gravitational pull on the tonal centre, and this influence
progressively increases as the strings get lower in pitch. The effect can be emphasised by
re-tuning the lowest string so that it produces the low D, a tone lower than the usual tuning.
This produces D-A-d on the bottom three and the tonal gravity this sets in force is
impossible to resist. Other scordaturas can limit the tonal pull, for instance lowering the
-,
third (G) string to F #, although it produces a 6/
4
D major triad, destroys both the minor 6/
3
chord which normally lies across the top three strings, and the major 6/
4
chord which would
otherwise sit across the fourth, third and second.
Rapid decay
The most striking characteristic of the nylon-strung guitar is the rapidity of the rate at which
notes decay, especially notes that are produced on a short string length, and more especially
the high pitched notes. (Its steel-strung counterpart has somewhat more sustaining
properties.) Composers often accommodate this characteristic by avoiding long-held notes,
and by the use of the tremolo technique in which the same note is rapidly reiterated to create
the impression, if not the illusion, of a continuous, sustained note.
Handling the guitar's characteristics
The dilemma facing the composer is this: it was the harnessing of these characteristics that
conditioned the music of the past; that gave rise to that 'programme of expectation' - the
arpeggio patterns and the tonal and their use will lead the composer down the
same path. On the other hand it would be perverse to completely avoid them.
Disingenuously avoiding the sweeping arpeggios, the physiologically natural placing of the
67
right hand and the triadic patterns available there, the parallel shifting, the campanella effect
caused by the merger of notes on different strings, the tonal pull of the open strings and the
devices for circumventing the guitar's rapid delay, would deny the guitar its soul, frustrating
everything which is natural to it. It is a question of valuing the contribution their special
qualities can make in new contexts, and avoiding the tendency to rely on them in the
absence of original thought.
Dodgson's guitar music is not peppered with examples of the exploitation of the
instrument's natural characteristics. Their occurrence is incidental, and whilst they mark
out the works to be for guitar and no other instrument, they remain subservient to the
intrinsic musical direction.
As Ode to the Guitar No.6 draws to a close (Ex. 3.2), the harp-like sweep is used
very simply to take a plunge to the lowest note of the guitar:
3
r - - 5 ~
,.---5--.......
If,]
HJt
-
J
HJI E

f
1:-
k ~ -
----
2 F
I

appass.
(banns.)
,
~ .
~ - ~
j
J1
~
~
I
~ l ? l
I
6
II
j-
ill
Ex. 3.2 Ode to the Guitar No.6, Stephen Dodgson, bars 38 - 42.
A more sophisticated application of the technique is given a textural role in Quintet for
Guitar and String Quartet, as the guitar and string quartet each stamps its personality at the
opening of the work. The right hand repeatedly moves from the highest string to the lowest,
and then back again, as the left hand is positioned high up the inner strings to produce notes
which are higher than those produced on the nearby outer (open) strings (see Ex. 3.3). This
increases the frequency of changes in the direction of the notes, and causes shallow
undulations to contrast with deep plunges and steep ascents.
68
__ --------------20----------------__ _
~ ~
1\
, 10J J
1 J .J 01 j
J J j
@)
~
~ =
~
~
=
~
o 411
0
..
o
o 0
o
Ex. 3.3 Quintet/or Guitar and String Quartet r mav!., Stephen Dodgson. Guitar, bar 9.
The movements of Ode to the Guitar include contrasting examples of right hand
fmger disposition. Ode No.1 includes a type of organization which is familiar to all
guitarists, as the fingers are stationed over the upper three strings and the thumb over the
fourth string (Ex. 3.4).
Ex. 3.4 Ode to the Guitar No.1, Stephen Dodgson, bars 20 & 21.
However that natural disposition is not allowed to dictate events, and in Ode No. 8 the index
finger is displaced from the third string to the fourth string, so the guitarist finds the index
finger in unaccustomed proximity to the thumb on the fifth string, and the spacing of the
notes that results creates a gaunt effect, caused by the emptiness in the bare intervals, to
which guitarists are also rather unaccustomed (Ex. 3.5).
The writing in both examples 3.4 and 3.5 made use of the parallelism that results
when the whole hand is moved up or down the fingerboard. In those cases not every note
is exactly transposed, one or more notes being displaced to alter the harmony. However in
bars 14 and 15 of Ode No.4 (shown in Ex. 3.6) the notes comprising the chords step up or
down by identical intervals, in order that vertical tritones are preserved.
69
The passage is both easy to play and idiomatic to the guitar: Dodgson appreciates the
opportunity that the guitar fingerboard offers to exploit the characteristic of parallelism. 17
The characteristic of resonance can be difficult for a guitarist to avoid. It is often
onerous to make a passage not resonant. A simple experiment can illustrate the point. If
one plays the note G on the tenth fret of the fifth string, and then lifts the finger from the
fret, arresting the fifth string with the right hand for good measure, the note will continue
to sound quite loudly in the body of the guitar because of the sympathetic vibration of the
open third string. A B b played on the sixth string is accompanied by the D a tenth above
it, unless the other strings, particularly the fourth, are held in place. The campanella
technique capitalises on incidental resonance and takes it a step further, as the sounds from
the strings are allowed to overlap and merge to provide a rich resonance in the body of the
guitar. Dodgson exploits the characteristic throughout Ode No.1: in the following example
(Ex. 3.7) each note rings on until the same note is played again.
f
The antithesis is found in Ode No.2, the opening of which is shown in Ex. 3.8, which calls
for a dry sonority in which every resonance is necessarily stopped short by its successor.
Brisk and impish
3 4 4 ~
~ p<><O -: I E'F' !# Qr 1:J I [ r F l'c 'f I
0----'
17 Cooper, 'Stephen Dodgson at Prussia Cove', p. 20.
70
In each case, resonance, or the absence of it, has been one of Dodgson's principal
considerations, and it is interesting to note that Dodgson leaves it to the guitarist to deduce
the category - maximum or minimum resonance - from the right hand fingering he gives,
and the occasional string sign. Some composers strive for absolute exactness on the issue
of note lengths, which can mean that the notation looks complicated and fussy as rests and
tied notes proliferate. Others leave the question entirely to the player, so that a semiquaver,
for instance, is only a semiquaver in the sense that the next note follows a semiquaver later,
and may in fact continue to sound for some time after its exact value has expired.
Dodgson's notation reveals his view that one should notate very carefully what can be
notated carefully, without making the score look complicated or pedantic. This leaves
something to the intelligence of the person who plays it, to view the details in the score in
the context of the work as a whole, and indeed in the context of the composer's guitar
writing in general, to intelligently seek out what was intended .
.... the composer cannot address himself to a musical dunderhead .... these constant
incidental resonances should be recognised and valued, but should not for the most
part be included in the notation. 18
I want to put down less and less. 19
The occasional string sign, and fingering indications help the guitarist in his or her
judgement, and sometimes an indication is provided by a little hook attached to a note (as
for example in Ex. 3.9) to suggest that it should be allowed to continue to sound,
Gently flowing and very sustained
i
i r ~ i r-----
but the player of Dodgson's guitar music does need to be capable of categorising passages
into those in which resonance should be allowed to continue, and those in which the notes
should not only be sounded but - with equal rhythmic accuracy - should also be damped, in
the absence of explicit instructions.
18 Dodgson, 'Writing For The GuiJar', p. 14.
19 Cooper, 'Stephen Dodgson at PnlSsia Cove', p. 20.
71
The gravitational pull of the D-A-d tuning is employed in Ode No.3, as each of the
three lower open strings is used as a pedal note as the piece progresses. In bars 16 and 17
(shown in Ex. 3.10) the open fifth string, as well as providing a point of richer resonance,
performs the incidental function of allowing the left hand to cleanly take up a new position.
Ex. 3.10 Ode to the Guitar No.3, Stephen o d g s o ~ bars 16 & 17.
The usefulness of open strings is exploited to provide easily accessed wide spacing to help
to heighten a climax as Ode No.9 draws to a close (Ex. 3.11).
Ex. 3.11 Ode to the Guitar No.9, Stephen Dodgson, bar 41.
Earlier in Ode No.9, open strings are combined with a single left hand finger to facilitate
a marked dynamic contrast (Ex. 3.12):
Ex. 3.12 Ode to the Guitar No.9, Stephen o d g s o ~ bars 27 - 29.
Chords are used to make an even more emphatic contrast at the end of Ode No. 4 (Ex. 3.13):
i a i p
- p i m a
-
-
- -
-
-
~ b ~ ~
-..I
.J
-
~
-:.J J
~
..I J
r-
f\
~
_"'.
. -

. - .

~
~ ~
- 2
-
:; j j
1I ""II
pppposs.
Ex. 3.13 Ode to the Guitar No.4, Stephen o d g s o ~ bars 35 & 36.
72
Texture
The injection of repeated chords, especially at the end of phrases, is a Dodgson
characteristic, and has the effect of creating expectancy whilst maintaining impetus.
However the chords are occasional, not constant, and can suggest whole areas of harmony
which are seldom actually sounded. Most of Dodgson's writing is indicative of his view
of the guitar as a melodic instrument, that is, his writing centres around a single line with
only occasional, colouristic intrusions. It is in single line music that the guitarist has the
greatest dynamic and colouristic control. The guitarist, who is conditioned to expecting
regular clumps of chords (possibly because compositions are often conceived at the piano,
and then written out for the guitar with only absolutely necessary pruning), is given a
freedom. The fewer notes there are, the greater the number of options exist when deciding
where on the guitar a particular note should be played. Notes near the middle of the
instrument's range can be played in four or five different places. Furthermore, this freedom
from too much harmony means that the guitarist's movements are unimpeded, neither hand
is cramped, and the resonance in the body of the guitar is devoted to a single note. Richness
lies in the colour of the notes rather than in the number of them heard simultaneously, and
expressive projection and dynamic shading are at their maximum when the player's
concentration is upon a single line. Colour is at its greatest when the general level is quiet,
as it is in the opening of Ode No.4, shown in Ex. 3.14:
Ghostly and menacing
, S 3J ~ j J if] J I J d
J *1 J I oJ T@ ,d 'Ej.:J I
PP misterioso
where, incidently, the shape of the one-bar phrase evolves, but remains recognisable by its
rhythm.
Constant repeated chords do appear at the opening of the fourth movement of
Partita No.1, (shown in Ex. 3.15) but their function is primarily to serve as a kind of
tremolando, as well as providing a landmark to which the movement returns about half way
through.
73
Allegro cJ.= 72)
Ex. 3.15 Partita No.1, 4th movt., Stephen Dodgson, bars 1 - 6.
Techniques
Conventional tremolo, in which the impression of sustain is created by the rapid reiteration
of the same note, is rare in Dodgson's guitar music. He considers the absence of sustain
to be part of the instrument's attraction: a characteristic to be savoured rather than
circumvented.
Other 'conventional' techniques are also used sparingly in Dodgson's music:
ponticello, although literally meaning 'on the bridge' is a direction to the guitarist to move
the right hand near the bridge to strike the strings, diminishing the intensity of the lower
overtones and creating a hard brittle sound. The term tasto is used to prompt the guitarist
to strike the strings closer to, or possibly even over, the fmgerboard, the aim being to play
as close as possible to the mid-point between the bridge and the fret at which the string is
stopped, causing the maximum range and intensity of overtones to be heard. It is part of all
guitarists' technique to vary the point at which the string is struck to reflect expressive
purpose, and guitarists employ these colourations whether or not they are expressly
indicated. Where there is a pronounced contrast in mind, as at the beginning of the third
movement of Partita No.1, where it is used to highlight an echo effect, Dodgson makes the
instruction explicit (Ex. 3.16).
Adagio 0= 84)
r-=
~ i if ill) Ilj
f 2#r (jJonticello)
p fr (tasto)
Ex. 3.16 P artita No. 1 3
n1
mow., Stephen Dodgson, bars 1 - 4.
Pizzicato is normally applied to instruments which are usually bowed to denote that
strings should be plucked. Because the sound so produced is attenuated, both in terms of
74
duration and resonance, the term is borrowed by guitar composers to describe the practice
of striking a string with the thumb, while the side of the hand rests on the bridge saddle to
act as a mute (the sound resembles the 'harp' stop on the harpsichord). It is notable that
when Dodgson has recourse to the technique (as illustrated in Ex. 3.17), its use is always
preceded by a space in time, presumably this is in deference to the practical consideration
that the right hand has to be displaced somewhat to play pizzicato, and it can be awkward
to make the transition very rapidly.
~ l , ~ P 11 J fJ I J ~ J J ~ ~ I
pizzo - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
Ex. 3.17 Ode to the Guitar No. 10, Stephen Dodgson, bars 16 - 18.
Tambura describes the action of striking the strings near to the bridge with the side
of the thumb (the right thumb in the case of a right-handed player) which, as it were, 'faces'
the palm, producing a booming sound through which the resonance of the strings can be
heard. And harmonics are produced when the player places the finger lightly on a string
over the fret - at particular, fractional, points along its length - rather than firmly stopping
the string behind it. Dodgson uses both these techniques in the closing bar of the first
movement of Partita No.1.
n
u
p
on the bridge
Ex. 3.18 Partita No.1 r
t
movt., Stephen Dodgson, final bar.
However, although limited use of these conventional techniques can be found in
Dodgson's guitar music, there are very few examples of novel techniques. Dodgson spoke
about this during his talk to the British Institute of Recorded Sound:
20
On neither instrument [the guitar or the harpsichord] have I ever felt any
overwhelming desire to search out hitherto unheard sounds, novel techniques.
Chiefly because (specially in the case of the guitar) those that exist have never !et
been anything like fully explored .... And, of course, I'm keenly aware that the gwtar
lacks sufficient substantial repertoire ....
20 Talk given at the British Institute of Recorded Sound. 30th January 1969.
75
Dodgson's aim is to use the guitar fully and in a way which takes into account the
kind of training that good guitarists have receive<L but he thinks that guitar composers
should not feel compelled to include in their compositions everything that the guitar
happens to be capable of: that there is a danger that composers may be tempted, as they step
into this comparatively fresh field, to compose a great deal of experimental music for the
guitar, whilst neglecting to satisfy the need for the daily bread of proper repertoire.
21
Guitarists generally respond positively to this view. The critic Colin Cooper observed:
Refreshingly, Stephen Dodgson shows no signs of being interested in the musical
Dadaism that is willing to do almost anything that is possible with the guitar except
to compose music for it.
22
The relationship of Dodgson's guitar compositions with the rest of his output
Stephen Dodgson's selected list of works comprises just under two hundred compositions,
including large bodies of works for solo voices, chorus, brass, woodwind, wind orchestra
and large wind ensembles, harp, harpsichord, orchestral music, strings, piano, lute, and
guitar. The guitar represents his biggest single body of work, which he sees as rather
separate, although he would prefer it to be viewed as just part of that whole output. This
may be due to the public prominence his guitar music has received through the
performances and recordings of (especially) John Williams, or because a certain portion of
his mind, a guitar portion, fliters ideas through his long experience to produce a rather
separate kind of piece.
22 Cooper, 'Stephen Dodgson a1 Prussia Cove', p. 19.
76
CHAPTER 4
Didactic material
Collaboration with Hector Quine
Stephen Dodgson's output of didactic material for the guitar has been the result of two
collaborations: the first with Hector Quine, and the second, much later, with Richard
Wright. Dodgson met Hector Quine in 1954 through Julian Bream, of whom Hector Quine
was an old friend. Quine was a maker of guitars, and during the same year that he met
Stephen Dodgson, he became the principal guitarist at the Royal Opera House. He was to
be appointed Professor of Guitar at Trinity College of Music, London in 1958, Professor of
Guitar at the Royal Academy of Music in 1959, and Professor of Guitar at the Guildhall
School of Music in 1966, I all of which posts he held concurrently until his retirement.
Dodgson describes him as 'a very painstaking, rather methodical person who thinks things
out with an air of serious intensity' .
2
At the time, the studies with which guitarists were usually trained were those of the
Spanish guitarists Dionisio Aguado (1784 - 1849), Fernando Sor (1780 - 1839) and Emilio
Pujol (1886 - 1980), the Italian guitarists Matteo Carcassi (1792 - 1853), Ferdinand CaruHi
(1770 - 1841), and Mauro Giuliani (1781 - 1829), the French guitarist Napoleon Coste
(1806 - 1883), the Argentine guitarist Julio Sagreras (1879 - 1942), and the Austrian
guitarist Luise Walker (1910 - 1998). Of these, only the studies by Emilio Pujol, Julio
Sagreras, and Luise Walker were conceived for the modern, post-Torres guitar, and those
studies did not depart significantly from the approach taken by the earlier writers.
Harmonically, they tend to be firmly established in a particular major or minor key, strongly
dependent on the tonic-dominant relationship; and technically, the right hand fmgers tend
to continue to follow a delegated pattern established at the beginning of the study. The
studies written by the composers referred to above sub-divide into three broad categories.
1. Studies in which chords are superimposed on a background of repeated notes, as
shown in Ex. 4.1.
I Maurice J. Summerfield, The Classical Guitar: Its Evolution and its Players Since 1800, 4th edn (Blaydon on Tyne: Ashley Mark Publishing,
1996), p. 359.
77
amamamam mamamam
~ ~ # I e t J J J J J J J ,J J J t J J J I, J J J J J J J J J J J J J J I
3 3
-
f\ JJ, l+ I I I I I I I I I I I I I I I I I I I I I l I -
@.l
~ Ii:
~
~
1= L-J....-J
p-
Ex. 4.1 Study in A Major, Dionisio Aguado, bars 1 - 4.
2. Studies in which a melodic line is superimposed on a background of repeated
notes, (as shown in examples 4.2, 4.3 and 4.4) in some cases combined with
arpeggiated chords, as shown in Ex. 4.5.
Ex. 4.2 Study in A Minor, Mauro Giuliani, bars 1 - 4.
a
Allegretto m
i P
p
Ex. 4.3 Etude in D Major, from 25 Etudes de Genre Op. 38., Napoleon Coste, bars 1 - 8.
78
pimiPimi P mipim
Ex. 4.4 EI Abejorro - Estudio, Emilio Pujol, bars 1 - 4.
Allegretto
a i i a i
i m i
ami ami
-
1\
-
-
-
-
,...
J "",1
~
@) -
i
!
T
i
r
-
1\
- - -
-
- - ~ 1
r
I
r f.
nt
-
-
-
-
Ex. 4.5 Study No. 7 in A Minor, from 25 Melodic and Progressive Studies Ope 60., Matteo Carcassi,
bars 1 - 4.
-
3. Studies that have arpeggiated chords as their foundation, either with the
arpeggiated chords forming the sole basis (see Ex. 4.6), or with a melodic line
'emerging' from the arpeggiated chords (see Ex. 4.7) or a melodic line incorporated
into a background of arpeggiated chords (see Ex. 4.8).
Ex. 4.6 Study in A Major, Ferdinand CaruHi, bars 1 - 4.
79
Moderato
; ## I lJ fO lJ I I) r I) I J) n J) IlJ fO lJ
f ' ~ r ~ ~
Ex. 4.7 Study in B Minor, Fernando Sor, bars 1 - 8.
fI ~
~ h
j)
: > ~
}
h h 1
t.J - -
=
-
- -
= =
r
-
-
- -
r r
r r
r ~ r
- -
-
..
plmalaml pimalami
fI ~
~ ~ h
~
:>!',
b
: > ~ : > ~
t.J
-
~
f*" ___ f*"
f*"_'" fl"=f*"
=
-
=
-
r
r "- r
~
- -
~ r ~ r
- -
-
.. ..
Ex. 4.8 Technical Exercise No.9 (Higher Grade), Luise Walker, bars 1 - 4.
Widely-available British didactic music for the guitar was confined to the work of Herbert
Ellis (1865 - 1903)/ which also adhered to the traditional approach. None of these studies,
which were in widespread use in the 1950s, and had been for many years, addressed the
technical and musical issues with which Hector Quine was preoccupied.
4
There were a great many such issues, all of which were very specific: such as the
need to develop a consistent apoyando stroke, fostering the ability to match the tone
produced by the thumb with that produced by the fingers, the relationship between left hand
fingering and smooth phrasing, the use of slurs as a means of emphasizing cross rhythms,
and developing left hand finger independence. One issue was considered absolutely
fundamental: it is Hector Quine's view that students beginning to learn the guitar were
started off at the wrong position on the fmgerboard. Having been taught the names of the
notes produced by the open strings, the logic of following the open string notes diatonically
- for instance proceeding from the open E to F on the first fret and then G on the third fret,
necessarily meant that students would begin to play the guitar in first position. With the left
3 AP. Sharpe, The Story of the Spanish Guitar, 4th edn, (London: Clifford Essex, 1968), p. 40.
4 Hector Quine, interview with John Mackenzie, 26th January 2002.
80
hand stationed with the fITst fmger in position to depress the strings at the first fret, each
subsequent finger would be placed over each subsequent fret, on a fmger-to-a-fret basis.
Only in first position can all the notes of any chromatic scale be played without moving the
hand along the neck (by employing the open strings), and first position was therefore
considered the most suitable for the study of all keys. Hector Quine saw four objections to
the practice of beginning to play in first position.
1. At this point on the fmgerboard the frets are more widely separated than at any
other point, inducing additional tension in the left hand of the player, and thereby
presenting an obstacle to the player's ability to produce correct hand and finger
movements.
2. If a relaxed and correctly seated guitarist bends the left arm at the elbow and
assumes a natural gripping position on the fingerboard - with the thumb
approximately opposite the second finger - the position of the arm next to the body
will mean that it is a position in the middle of the neck that will be naturally assumed:
sixth or seventh position, and as the player moves towards fIrst position, with the
hand held further from the body, stability and comfort will be adversely affected.
3. More pressure is required to depress the strings onto the fingerboard in first
position than at higher positions, because it is immediately adjacent to the strings'
point of arrest, at the nut.
4. The strings are separated by the smallest distance at the nut, the distance between
them widening as they get nearer to the bridge. The strings are approximately 10 per
cent farther apart at the fifth fret than they are at the first fret, and approximately 12Y2
per cent farther apart at the seventh fret than at the first fret. The closeness of the
strings to each other at fITst position leaves little room for fingers to be placed on
adjacent strings, a difficulty that is obviated by the wider spacing of the strings in
higher positions.
A concomitant difficulty arising from the concentration of classical studies on lower
positions, as Hector Quine saw it, was that they failed to familiarise the student with the
notes on the higher frets, especially the higher frets of the lower strings. Equally, the task-
delegation of the right hand fingers, often with the index, middle, and annular fingers
stationed over adjacent strings, meant that pleasant but predictable patterns would result -
rhythmically as well as harmonically, the effect of which was that the guitarist was
conditioned in his expectations, and as a result, found it difficult to sight-read anything
81
which did not correspond with that conditioned response. The classical studies were a
restrictive influence because they channelled the guitarist into an attractive rut, and therefore
blinkered the player to what might lie outside it. Although there were many technical issues
which concerned him, it was this, the failure of the existing studies to open the mind of the
guitarist, to extend the musical imagination, that was, for him, the overriding issue.
However, his commitment to these views was hampered, because he felt unqualified
to clothe his ideas in music of sufficient quality. On meeting Stephen Dodgson, Quine saw
an open-minded composer who was held in high regard by the music community, and who
did not regard the guitar with disdain. Dodgson's almost entire ignorance of the guitar
repertoire and its literature, far from being a disqualification, meant that his writing would
be undertaken in a welcome state of innocence, free from the prejudice of schooling. Quine
made the suggestion to Dodgson that they should collaborate in the creation of a body of
studies that would address the deficiencies that Quine would identify. Dodgson resisted the
idea. He felt that 'the very idea of having a non-guitarist write studies for the guitar is really
outrageous'.5 However Quine 'went on and on about it' ,6 and, his resistance worn down,
Dodgson eventually agreed. Work started on the Studies/or Guitar, that were to comprise
their fIrst collaborative work, in 1964. The twenty Studies were written in groups of two
or three. A meeting would be arranged at which Quine would describe an area of technical
concern, for example, the need to develop 'agility of the thumb' (the subject of Study No.
11), and 'stresses by selective use of apoyando' (Study No. 15). In cases of uncertainty
Quine would supply diagrams, fragments of notation, or illustrate the problem on the guitar,
to ensure that Dodgson understood the aim. Having done so, Dodgson would try to
conceive the idea as a musical entity, and write accordingly. A second meeting would take
place approximately three weeks after the first; Dodgson would show Quine what he had
written, and they would go through it together and agree on a final version.
The first of the Studies has no specified technical or musical aim, but was intended
as a prelude - an introduction to the new way of thinking to which the player would have
to adjust, as the subsequent studies were encountered.
7
Each of those, highlighted at least
one aspect of guitar technique, specified at the head of the page. In some cases the aspect
was entirely technicat such as 'Extensions: avoidance of accidental damping' (Study No.
17), and in others the aspect, although technical, was aimed at the musical implication of
5 Timothy Walker, 'Stephen Dodgson in conversation with Timothy Walker', SOUNDBOARD, Winter (1991), 13-21 (p. 15).
6 Colin Cooper, 'Stephen Dodgson at Prussia Cove', Classical Guitar, (November 1985),19-20 (p. 20).
7 Stephen Dodgson, interview with John Mackenzie, 23rd January 2002.
82
the technique concerned, as is the case in Study No.9, which considers 'Achievement of
long phrases, entailing smooth position-changing on repeated notes'. Eleven of the Studies
highlight a single factor, five require the guitarist to consider two factors during the course
of the piece, one requires that three factors are considered, and two require that four factors
are taken account of: for example Study No.4 is headed 'Irregular metre: internal pedal
notes: from stopped to open strings suddenly: damping short chords'.
With two exceptions, all the factors that would be addressed in the studies were
specified by Hector Quine. One of the exceptions was Study No.6, which was the only
study about which a hint of disagreement arose. Dodgson wanted to create a texture which
is foreign to guitarists, one in which a compound interval is underpinned by a simple
interval. This was 'not altogether approved o:f by Hector Quine,
8
because it entails an
awkward disposition of the right hand fingers. However he relented, and the Study was
included, headed by Quine 'Unusual disposition of Right Hand fingers'. (See Ex. 4.9.)
Lento espressivo
u
pp
-======= ====::=::::=--
--======== == =======--
p
Ex. 4.9 Study No.6, from Studies/or Guitar, Stephen Dodgson and Hector Quine, bars 1 - 3.
All the music, although largely initiated by concepts supplied by Hector Quine, was
composed by Dodgson; and if the textural idea from Dodgson caused some frustration in
Hector Quine, some of the restrictions imposed by Quine caused some frustration in
Stephen Dodgson. Dodgson was conscious that if guitarists were to derive technical benefit
from the Studies, it was imperative that they should have sufficient musical appeal to
provide an incentive to play them. In fact his aim is that there should be as little distinction
as possible between his pedagogical material and his concert material.
9
He considers it
rather condescending to produce music that is attended by the implication: 'It's not real
music; it's only a technical exercise'.10 The restrictions imposed by the technical
considerations which Quine wanted to address meant that it was inevitable that in some
8 Cooper, 'Stephen Dodgson at Prossia Cove', p. 20.
10 Ibid
83
cases the results would 'feel like exercises'. However a number of the Studies have entered
the repertoire as concert pieces; Studies numbers 1, 4, 8 & 13 are heard regularly at guitar
recitals.
The Studies for Guitar were followed, in 1973, by Progressive Reading for
Guitarists. This comprised one hundred sight-reading exercises contained in six chapters,
the first five of which consist of exercises which restrict the player to a certain position or
small group of positions. Reading notes in a restricted area of the fingerboard fosters in the
reader an easy familiarity with the whereabouts of notes which would remain unfamiliar if
the player was allowed to dive for first position at the fIrst opportunity. However, it also
imposes another restriction on the composer - Dodgson observed that:
... it is very difficult to write a really nice piece of music when the hand never moves
from that one position. If you do manage to write a piece of music like that, it may
be perfectly playable there, but it may not be the natural place in which to play it. 11
However both Dodgson and Quine agreed that it was necessary to put such considerations
aside in the service of developing abilities of both reading and reasoning in the player. The
sixth chapter in Progressive Reading is concerned with chord recognition, for which
Dodgson's writing is particularly suited. Its tonal ambivalence completely removes the
element of predictability inherent in the classical studies, and compels the student to read
each note carefully.
In 1975, Dodgson composed a collection of sight reading tests which was published
by Trinity College of Music, London, in connection with its Grade Examinations. It
comprised forty eight tests, six for each grade 1 - 8. The following year Dodgson and Quine
collaborated on a set of five guitar duets, Take Two, which was designed as a supplement
to Progressive Reading for Guitarists, and in common with the exercises in Progressive
Reading, the duets are arranged in an approximate order of difficulty. Quine saw a need for
sight-reading exercises in duet form to encourage the players to 'keep going at all costs',
something that he considered a guitarist is more likely to do when each of the players is
reliant on the momentum of the other, than when engaged in work on solitary exercises.
The practice of sight-reading duets also encourages the players to think more keenly about
controlling dynamic levels in order to achieve the correct balance between them, rather than
the uniform mfthat would be more likely to result when sight-reading solo pieces.
84
A second solo sight-reading manual, At Sight, was written by Dodgson and Quine
In 1984. Whereas in Progressive Reading for Guitarists the exercises are arranged
according to the area under consideration, At Sight comprises sixty sight-reading exercises
which are arranged according to level of difficulty. These were the first publications
available to guitarists that contained exercises explicitly tailored to foster good sight-
reading.
In 1978 Dodgson and Quine wrote a second set of studies, 12 Transitional Studies,
aimed at guitarists at an intermediate stage of development. The objective was to provide
a logical preparation for the more advanced Studies they had written earlier. Although the
technical demands made by the 12 Transitional Studies are moderate, two of them, numbers
7 and 12, are primarily concerned with achieving a sense ofprojection, of performance, and
present modest challenges to musical coherence and meaningful interpretation.
The final set of solo guitar studies produced by Dodgson and Quine was their 12
Introductory Studies. Written for guitarists at an elementary stage, it was produced to form
the starting point of a course of study in contemporary guitar playing, from which the
guitarist would graduate to the 12 Transitional Studies, and finally to the twenty Studies for
Guitar with which it had all started. The Introductory Studies address basic issues such as
the use of apoyando on upper strings in bringing out a cantabile melody against a tirando
accompaniment (see Ex. 4.10).
p r r
poco cresco
Ex. 4.10 Study No.1, from 121ntroductory Studiesfor Guitar, Stephen Dodgson and Hector Quine,
bars 1 - 4.
Dodgson composed a further three solo pieces and a collection of solo miniatures at the
instigation of Hector Quine. Each of the three pieces was contained in a collection of guitar
works by contemporary British composers. Quine commissioned the collections in order
to serve two purposes. One was to introduce guitarists to music of their own age, with
which many will have been unfamiliar. The second was to promote British music in
particular. Dodgson composed Saraband (1968) (see ante) for inclusion in 'Modem Guitar
Music - Eight pieces by British composers'. The composers of the music contained in the
collection had a free hand, and the level of difficulty of the pieces is quite high.
85
The appeal of guitar music written during the 19
th
century arose not only from the
harmonic accessibility of the music, but also from the relative ease with which it can be
played, at least by a player sufficiently advanced to be accustomed to the familiar chord
placements. Quine was concerned that the alienation experienced by guitarists conditioned
by that earlier music, when exposed to music of their own age, should not be added to by
the creation of another obstacle - that of technical difficulty - on top of the first.
12
Dodgson
composed Serenade (1974) for inclusion in a collection intended to introduce guitarists to
modem British music at an earlier stage in their technical development ('Easy Modem
Guitar Music - Ten pieces by British composers'). It contains no stretches, and only three
barres, in bars 9, 15 and 17 which cover only two or three strings, and which are of
sufficiently short duration to prevent fatigue. If more than two notes have to be stopped
simultaneously, they are either preceded by an open string, or one of the fingers concerned
is put down immediately beforehand in readiness. Most position changes are preceded
either by a rest or an open string, or at least one guide finger is already in place from a
previous note; and the lower open strings are used extensively (in bars 12 - 15 in particular)
to add a warm resonance while providing a cloak: under cover of which the guitarist can take
up a new position cleanly. However, Serenade is not austere, but active and airy, with a rich
sonority provided by the open strings, and, especially, the large chords in the eighth and
penultimate bars; and unlike a great deal of earlier guitar music, the left hand is not
anchored in the lower positions, and consequently in the lower two octaves of the
instrument's range. A general tonality of G is hinted at throughout, but the only
unambiguous triads are the G minor in bar 9, and the closing G major, the latter of which
is approached by the familiar semitone fall.
The third piece which Dodgson composed for inclusion in a Quine collection was
Interlude (1977) which was contained in 'The Young Guitarist - Twentieth Century British
Composers'. It contains many of the characteristics of Dodgson's musical style. The entry
on the off beat, vertical intervals of a major second, and relatively long notes leading to
jagged figures which act as an anacrusis for the next accent are all present within the first
five bars. (See Ex. 4.11 overleaf.)
86
~ = 100
Q),-----
4
~ m
-===== f
Q)I----
=
Ex. 4.11 Interlude (Summer Daydream), Stephen Dodgson, bars I - 5.
This piece, although not particularly intended as a didactic work, forms one of the most
effective studies for guitar in the repertoire. Two voices meander absent-mindedly, in an
uninterrupted lilt, through practically every note on every string of the guitar. During the
course of its four minute duration, the guitarist plays every fret on each of the first, second
and third strings from the first to the thirteenth, every fret on the fourth string from the first
to the twelfth, every fret on the fifth string from the first to the tenth, with the sole exception
of the ninth, and every fret on the sixth string from the first to the ninth. In addition all the
open strings are used, as well as natural harmonics on the fifth and twelfth frets of the first
string, and the fifth, twelfth and nineteenth frets of the third string, and artificial harmonics
at the thirteenth, fifteenth and eighteenth frets of the first string, the fifteenth fret of the third
string, and the frfteenth fret of the fourth.
Interlude also uses the guitar to maximum effect in other respects, without recourse
to extremes. Its resonance is exploited throughout: for instance in bars 8 - 10 (see Ex. 4.12),
the open fifth, third and first strings are used to create an Alberti-type accompaniment while
the expressive tone of the fourth string is used for the melody.
@ ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
espresso
leggiero
Ex. 4.12Interlude (Summer Daydream), Stephen Dodgson, bars 8 - 10.
Later, the open strings used to form the Alberti accompaniment include a note (G) which
is already heard on a stopped string in the outer part, creating a rich sonority as the two
manifestations of the same note merge together. (See Ex. 4.13.)
87
--==-======= ======-
=
Ex. 4.13 Interlude (Summer Daydream), Stephen Dodgson, bars 43 - 44.
Further into the piece the nature of the lower part is changed, as the shape of the arpeggio
turns down to an open G at the end, (see Ex. 4.14) so that as well as forming part of the
arpeggio, the low G acts as a kind of open-string pedal.
-========== leggiero
Ex. 4.14 Interlude (Summer Daydream), Stephen Dodgson, bars 55 - 56.
In 1987 Dodgson and Quine produced two more sets of duets, Double Take and
Studies in Duo. Double Take was to act as a sequel to Take Two (1976), and in common
with Take Two, it comprises five duets arranged in an approximate order of difficulty. The
aims of Double Take, set out in the introduction to the book, are 'to give further practice in
all aspects of ensemble playing: controlling dynamic level, achieving balance, careful
counting and accurate rhythm, also a sense of 'leading' or accompanying according to
context'. Studies in Duo comprises six studies designed as 'pupil and teacher duets'. The
pupil plays the upper part, which in the case of each of the first five duets, restricts the
player to a certain position or small group of positions on the fingerboard, and on reaching
the last study, the pupil is required to cover almost the whole fingerboard.
The final Dodgson/Quine collaboration produced the sequence of ten miniatures
entitled Ode to the Guitar (referred to extensively in Chapter 3), which was completed in
1991. The purpose of this collaboration was to provide true concert pieces which do not
pose a virtuosic challenge, but which nevertheless present an artistic one. The pieces
exploit the range of moods of which the guitar is capable. The character of the pieces is
indicated by a few words written at the beginning of each one, (i.e. 'Songful', 'Brisk and
impish', 'Radiant and sustained', 'Ghostly and menacing', 'Sustained and drowsy', 'Like
a Serenade', 'With marked echo effect', 'Gently flowing and very sustained', 'With stinging
accents', and, 'With a rustic flavour'), and in order to capture their respective moods, the
88
player needs to relate the intended musical result to a myriad of technical options, such as
the string on which a note should be played, the fingering for both left and right hands, the
point at which resonance should be arrested, whether to use the apoyando stroke or the
tirando stroke, the use of vibrato and its intensity, and the optimum tone colour for the
circumstances. These are pieces that absolutely cannot be played perfunctorily, but which
demand that the player understands the music, and how it relates to what the guitar can do.
At the conclusion of the collaboration, each party could regard his objective as
having been achieved. A body of contemporary studies had been created which took the
guitarist from the elementary stage to an advanced one (a clear parallel exists with Bartok's
Mikrokosmos for piano (1926 - 39) which comprises 153 pieces arranged in order of
progressive difficulty), and the guitar repertoire had been provided with a nucleus of
genuine contemporary music which was technically accessible. Dodgson had started the
project reluctantly, but was ultimately grateful that he had been 'forced' into it:
My introduction to the guitar was through Julian Bream, and I was never quite the
same afterwards. Then John Williams led me on a virtuoso exploration of it, and I
was certainly not the same after that. Hector Quine sent me back to school, and in
working on the studies, encouraged me, forced me, I nearly said, to understand
systematically where previously I had blundered with untutored instinct. 13
Collaboration with Richard Wright
Dodgson met his second collaborator, Richard Wright, through John Williams in 1974,
when Wright was a guitar student at the Royal Northern College of Music. 14 The Professor
of Guitar at the College, Gordon Crosskey, was on sabbatical in the United States, and
Williams had undertaken to visit the College periodically to take classes. The premiere of
Dodgson's Guitar Concerto No.2 took place in Manchester on the -pb. March, with John
Williams playing the guitar, and the Halle Orchestra conducted by James Loughran.
Richard Wright attended the rehearsal, at which John Williams introduced him to Stephen
Dodgson. Their mutual association with John Williams meant that Wright and Dodgson
kept in touch thereafter, and over twenty years after their first meeting, Dodgson was one
of a number of composers with whom Wright entered into a collaboration, to produce music
for inclusion in study albums from which pieces would be selected for the lower grade
examinations in guitar.
Wright was acting as Chairman of a Working Party formed from members of the UK
13 Lance Bosman, 'Stephen Dodgson' Guitar Maga::ine, (March 1983), 17-21 (p. 18).
I d Ri"h,ml Wril1ht. interview with John Mackenzie. 27th January 2002.
89
Branch of the European Guitar Teachers' Association, the aim of which was to make
recommendations to the examining boards responsible for grade examinations in guitar
(chiefly the Associated Board of the Royal Schools of Music, and Trinity College of Music,
London) on how the examinations might be modernised and improved. Grade examinations
for guitar had been established in 1967, in the wake of a surge in interest in the study of the
guitar, including the classical guitar. When guitar examinations were introduced, the lowest
level was set at Grade 4, and the pieces specified in the syllabus were regarded by teachers
to be reasonably appropriate to the respective grades. However, the growth in the study of
the guitar continued, and in response to a corresponding demand for examinations at the
lower grades, the examining boards introduced comprehensive syllabuses which covered
all grades, 1 - 8, for guitar. It was in respect of the more recently-introduced lower grades
that a number of problems had become apparent to guitar teachers. The Working Party was
established in November 1991, and held monthly meetings at which members' submissions
were considered. In May of the following year Wright wrote a report which detailed the
Working Party's findings, and made a number of recommendations. IS The thrust of the
report was that the lower grades had been introduced without the necessary supporting
repertoire, and that the pieces specified for the first three grades were technically and
stylistically inappropriate.
Those pieces were selected from the existing solo guitar repertoire, a characteristic
of which is that it is harmonically self-contained: a melody on the upper strings is supported
by harmony on the lower strings, in the form of either vertical or arpeggiated chords, often
with the melody integrated into an arpeggio. Alternatively, but less commonly, a melody
on the lower strings is accompanied by chords on the upper strings; but whichever is the
case, several left hand fingers need to take up position simultaneously, at the same time as
the right hand fingers are positioned on two, three, or more strings as two or more voices
are maintained. The musical language of the Baroque and Classical periods, with its
reliance on correct and complete voice-leading, means that this characteristic is especially
prevalent in pieces contained in list 'A' and 'B' of the Examination Boards' guitar
examination syllabuses, which approximately correspond to the Baroque and Classical
periods respectively, and from which two-thirds of the performance requirements are drawn.
At the lowest grades, the harmonic self-containment of 'authentic' repertoire causes
15 Richard Wright, European Guitar Teachers' Association (UK) Grade Examinations Working Party Report (London: European Guitar Teachers'
Association, 1992) pp 2-4.
90
students to become so preoccupied with the mechanics of producing the notes, that
phrasing, dynamic subtleties, nuances of tone colour and stylistic awareness, are sacrificed
in their interests: stress in the left hand causes issues related to the correct use of the right
hand to be subjugated, and there is a reduction in the enjoyment of music making.
In contrast, the corresponding lists 'A' and 'B' in the syllabus for the lower grades
in violin playing, contained only one piece selected from the existing solo violin repertoire.
The remainder was adapted, and much of it was intended to be played with a piano
accompaniment. Wright's report concluded that a similar approach was required for the
guitar. Solos should minimise the demands made on the left hand in the interests of the
development of a stable and relaxed right hand technique: only one left hand finger should
move at a time, whilst a sense of 'placement' of the right hand fingers should be inculcated
in the player through the use of the tirando stroke, with the right hand fingers positioned
over a given set of strings. Separately, the practice of students having a guitar accompanist
- normally the teacher - was proposed. The accompanist would provide harmonic support,
allowing the student to concentrate on a single line, and therefore on tone production,
phrasing, and the correct use of the apoyando stroke, free from the excessive physical
demands made on the left hand by chordal and contrapuntal music. Furthermore, the use
of an accomplished accompanist would mean that students would be given access to high
quality music, which would be too difficult to play solo, at a much earlier stage. These
measures called for the adaptation of existing repertoire, and the creation of a new one.
The examining bodies accepted the case that had been presented to them, and
handed the initiative back to the UK Branch of the European Guitar Teachers' Association,
under Wright's Chairmanship, to arrange for the production of appropriate music. The
Association produced three albums corresponding with Grades 1 to 3 for solo guitar, and
a further three, at the same level, containing duets for student with teacher accompaniment,
the precedent for which had been set with the Dodgson/Quine collaboration Studies in Duo
(although not in an examination context, and at a more advanced level of difficulty). Pieces
from the albums are specified in the Examination Boards' syllabuses at those grades. The
first composer Wright considered as a contributor to the albums was Stephen Dodgson. 16
Apart from any other consideration, Dodgson's view of the guitar as a melodic instrument
meant that he was an obvious choice for the composition of pieces free from conventional
harmonic constraints. He wrote a total of eight pieces covering Grades 1 to 3: four solos
16 Richard Wright, inteIView with John Mackenzie, 27th January 2002.
91
and four duets for student and teacher. It is notable that even at Grade 1 level the
compositional principles endure. For instance, three of the solos conclude on a reposeful
major chord, played pianissimo, which relates to the uncertain tonality which has dominated
overall. (Only one of the chords, in the Grade 3 album, requires two left hand fingers for
its production.) The upper part of Pastor Fido, for student and teacher, is based on an
extended phrase, which, as it recurs throughout the piece, retains its shape, but not its
intervals. (See Ex. 4.15.)
Andante cantabile
J.

t!
I
I
-
,...
1\
,.,
n-r- J
.l
~ I l . ~ fL'
~ ~
~
p ~
~ I
TIl
~
mf::='
~
=
=
p
mf
Ex. 4.15 Pastor Fido, Stephen Dodgson, bars 1 - 7.
And one of the solos, Beachcomber, opens with an arch-shaped phrase, followed by an
inverted arch, leading to a succession of linear major seconds which continues to recur
throughout the piece (see Ex. 4.16).
Andantino
~ ~
i
r:::r
F
q. I i r J
nif cant.
SUD.
, .pAD J J J J I ~
poco cresco
--=- ~
Ex. 4.16 Beachcomber, Stephen Dodgson, bars 1 - 10.
The set of pieces that Dodgson wrote through his association with Wright comprises the
easiest pieces he has ever written. It is paradoxical that his journey from the most difficult -
the almost un-playable, thick-textured, Prelude Nocturne and Toccata that he wrote for
Julian Bream in the early fifties - to these, his simplest pieces, should coincide with the rise
in his reputation as a composer for the guitar.
92
When Hector Quine approached Stephen Dodgson with his proposal for the Studies
for Guitar, his concerns centred around the stifling effect caused by conditioning: the
concentration of the existing studies in first position, and the implications that had both for
the physical comfort of the student, and the resulting lack of familiarity with notes in the
higher positions; and rhythmic and harmonic predictability, which created a sense of
alienation from the wider contemporary musical world in guitarists who had been
conditioned by the classical stUdies. The Dodgson-Quine studies represented their authors'
attempt to aid the integration of the guitar into that world, and the collections assembled by
Hector Quine: Modern Guitar Music - Eight pieces by British composers; its sequel, Easy
Modern Guitar Music - Ten pieces by British composers; and The Young Guitarist -
Twentieth Century British Composers, were also intended to have the effect of helping to
integrate the guitar into the mainstream of serious music. The result of Dodgson and
Quines' fmal collaboration, Ode to the Guitar, is integrational in that it reduces the gap
between musical quality and technical attainability. It provides quality without undue
difficulty, and demands that the music is related to the guitar through the moods that it is
called upon to create, and thereby to the means by which the guitar is able to create them.
Integration was also involved in Richard Wright's concern, in that it was centred on
the alignment of approach, technical difficulty, and expectations applied in guitar teaching,
with those facets as they are experienced in respect of more traditional instruments, and
through that alignment, associating the guitar more closely with that family of instruments.
The guitar studies that were widely available when Hector Quine took up his post
as Professor of Guitar at the Royal Academy of Music in 1959, represent the best of what
was written for the guitar during their respective periods, and they should continue to be
played today. However, at the time of Quine's appoin1ment, studies were required that were
representative of the present period, not only in the musical sense, but which also reflected
the modem guitar technically. The instrument has evolved since Sor, Carcassi and Giuliani
wrote their didactic material, and the studies written by Dodgson in collaboration with
Hector Quine, and later with Richard Wright, were necessary to serve it.
93
CHAPTER 5
Solo guitar works
In the early 1950s, when Julian Bream first encouraged Dodgson to write for the guitar, the
repertoire included hardly any serious music written for the modem guitar by English
composers. The subsequent expansion of the repertoire of guitar music written by English
composers was largely due to the activities of two guitarists: Julian Bream, and the Italian
guitarist Angelo Gilardino. In many cases, a composer would respond to a request for a
composition for the guitar from one or other of these guitarists, with a single work for the
guitar, which would remain the composer's one foray into the field.
1
William Walton (1903
- 1983), Alan Rawsthome (1905 - 1971),2 Michael Tippett (1905 - 1998), Benjamin Britten
(1913 - 1976), Humphrey Searle (1915 - 1982) and Peter Racine Fricker (1920 - 1990) each
wrote a single piece for the guitar (or a single group of pieces) at Julian Bream's request,
and Lennox Berkeley (1905 - 1989) Richard Rodney Bennett (b. 1936) and Giles Swayne
(b. 1946) have each written two works for the guitar following Bream's encouragement.
Lennox Berkeley's second work for guitar was commissioned by Angelo Gilardino,
who also commissioned guitar works from Bernard Stevens (1916 - 1983) (who was one
of Dodgson's composition teachers), Reginald Smith Brindle (b. 1917), Tom Eastwood
(1922 - 2003), Arthur Wills (b. 1926), Carey Blyton (b. 1932) and Richard Stoker (b. 1938).
In addition to the pieces written at the behest of Julian Bream and Angelo Gilardino,
Elizabeth Lutyens (1906 - 1983); Wilfrid MeTIers (b. 1914); Denis Aplvor (b. 1916 - 2004);
Peter Maxwell Davies (b. 1934); Nicholas Maw (b. 1935); John McCabe (b. 1939) and John
Tavener (b. 1944) have written either a single, or a small number of guitar works.
Stephen Dodgson has written sixteen works for solo guitar which remain extant, that
is, which he has not 'withdrawn' from his list of works. Nine of them were commissioned
by, or on behalf of, guitar soloists; four were written at the instigation of Hector Quine,
formerly Professor of Guitar at the Royal Academy of Music; two were commissioned by
publishers, and one by the Guitar Society of Toronto (see Table 5.1, Appendix 1). The only
one of the composers referred to above to have written a comparable number of guitar
works is Reginald Smith Brindle, whose earliest guitar works, incidently, pre-date those of
Stephen Dodgson.
1 Andrew Liepins, The Guitarist's Repertoire Guide, 2nd edn (Nottingham: Spanish Guitar Centre, 1994), PIl. 21-84.
2 Alan Rawsthome was in the middle of composing Elegy when he died However, he left a few sketches indicating the probable COW'Se the piece
was to take, and Julian Bream completed the piece using the sketches as a basis..
94
However, because of some stylistic similarities and common influences, Dodgson's
work is more often compared with that of those of his contemporaries whose output of
works for guitar has been less prolific. The critics Raymond Tuttle and Dominic Gill have
drawn parallels with the work of Benjamin Britten;3 there have been numerous comparative
references to the early works of Michael Tippett;4 and Erik Levi, writing in 1994 observed
that Dodgson's music:
... inhabits a similar world to that of Lennox Berkeley, contrasting bitter-sweet
lyricism with terse and busy contrapuntal development that owes much to
Stravinsky's neo-classicism.
5
The comparison of Dodgson's work with that of Tippett arises from their shared admiration
for early forms, and the tendency of both composers to juxtapose distantly related triadic
sonorities. However, comparison of Dodgson's guitar scores with those of the composers
mentioned above reveals a greater similarity with the writing of Alan Rawsthome. Like
Dodgson, Rawsthome was influenced by Hindemith,
6
and whereas Hindemith deployed his
range of chord types in a hierarchy, so as to create intensifying and relaxing harmonic
movements that clarify long-term tonal designs,
7
Rawsthome, like Dodgson, uses his
favoured building blocks very consistently, sustaining a sensation of tonal ambivalence over
long spans.
Some of the titles of Dodgson's guitar works, Serenade, Interlude, Etude-Caprice,
Three Attic Dances and Ode to the Guitar, suggest only the genre concerned. The titles of
Legend, Merlin, Stemma, The Troubled Midnight and The Midst of Life, are descriptive of
a poetic extract or an idea or event, which the pieces represent or commemorate, whilst the
titles of the four Partitas, Fantasy-Divisions andSarabandindicate Dodgson's use offorms
associated with earlier periods. However it is unsafe to infer too much from the titles. The
first and fourth P artitas both comprise four compact, thematically independent movements,
whilst the second and third Partitas have a high degree of motivic and figural
interpenetration which link the movements to Baroque rather than Classical precedents.
Even then, the interpenetration does not arise from the Baroque principle of
monothematicism - spinning out brief initial figures to create continuously unfolding lines -
3 The Financial Times, May 221975, and Fanfare, September/October 1994, Vohnne 18, Number 1, respectively.
4 e.g. 'Somewhat redolent of Tippett in his younger days' (The Daily Telegraph 11.6.71); ' ... hints of Early Tippett' (Merrion Bowen, The
Guardian, 22.5.75); ' ... a language that often resembles the Tippett of the Sixties, only softer edged' (Stephen Pettitt, The Times 10.10.85).
5 Classic CD. June 1994.
6 The New Grove Dictionary 0/ Music and Musicians, ed. by Stanley Sadie, 2nd edn, 24 vols (London: Macmillan Publishers Ltd, 200 1).xx, 884 -
886 (p. 884).
7 David Neumeyer, The Music o/Paul Hindemith (New Haven: Yale University Press, 1986), pp_ 4 9 ~ .
95
but rather from the interplay of a number of elements and material derived from them.
There is no constant thematic development, but constant return to a limited number of
motivic cells. The music is shaped through small gestures, and unity is achieved through
the relationship of impulse, activity and repose between the elements of which the cells
comprise, which are seen from different perspectives as the core melodic shapes or rhythmic
patterns expand and contract, or are subject to re-harmonisation, on their re-appearance.
Tonal anchorage points and common intervals also serve to unify disparate elements. A
unity of form results that reflects the spirit but does not imitate the methods of Bach and
Beethoven.
Motifs are recognisable by their overall shape rather than their exact intervals, and
arch-shaped melodic lines appear frequently, often with one note displaced from the
direction of the arch, creating the impression of faltering progress. An interval of particular
importance is the semitone: not necessarily between adjacent notes, but also between notes
separated by some distance, having been linked by a shape defined earlier. The semitone
may be fonned by a minor second, or by the same note subject to chromatic alteration, or
it may be suggested by a compound interval: one or more octaves plus a semitone, or by an
inversion: as a major seventh. There is a strong octatonic influence, although it is used with
a willingness to make departures from it, and the octatonic scale is never used
systematically. Textural variety is created as small intervals between fast-moving notes,
which convey the impression of concentrated nervous agitation, contrast with the airy and
active effect produced by angular, widely-spaced intervals.
With a few exceptions the writing is for one voice with the addition of minimal
triadic harmony to colour the melody and provide points of tension and resolution.
Therefore tonal definition depends on linear as well as harmonic events, and cadences are
defined by linear progression as much as traditional harmonic means. The most prominent
vertical intervals are the perfect fourth and the major and minor second. The guitar is
sympathetic to the interval of the fourth, because each of its strings is a fourth distant from
at least one neighbouring string (see section on hannony,post), and the interval of a second
gives the harmony an offset quality, preventing it from relaxing into the major/minor key
system. There is always a tonal base or centre to Dodgson's work, although not a centre
which corresponds with the definition given by Antokoletz, i.e. 'the establishment of a
given sonic area by symmetrical organization of a conglomerate of pitches around an axis
96
of symmetry' ,
8
but rather a centre in the sense of the establishment of a given pitch class as
the primary tone. Keys are diffused and melodies have a modal or an octatonic cast, but the
triad remains a point of resolution and centre, rooted in tonality, though with a far wider
scheme of harmonic relationships than would have been accepted by nineteenth century
guitar composers. On the other hand, some harmonic aspects recall music of the
Renaissance period: when a second voice is pitched against the first, both melody and
accompaniment are largely diatonically derived, yet constant clashes produce what Bartok
called 'polymodal chromaticism-'.9
The maintenance of harmonic tension is coupled with driving rhythms to produce
pungency and restlessness. A pulse which is steady and constant provides a background for
continually changing note-groupings; foreground rhythms which are often metrically
displaced; and rhythmic impulses providing points of recognition. Other rhythmic
characteristics include entries on the off-beat, particularly the case of a quaver forming an
anacrusis onto a strong beat, and relatively long notes leading to jagged figures which act
as an upbeat for the next accent.
A glance at the scores unmistakably confirms the works to be for guitar, indicated,
for instance, by the presence of open strings, evidently placed to provide punctuation points,
moments of resonance, and to facilitate position changes; and parallel shifts that take an
unchanged finger formation from one position on the fingerboard to another. However the
music does not set out simply to exploit the characteristics of the guitar and present them
to the listener, but rather it is music with its own purpose that takes account of those
characteristics. As a result the general level of difficulty is quite high, especially for a
guitarist schooled in the ways of previous eras. In this respect the pieces are written in a
state of innocence. Dodgson will consult his fingerboard chart, and having satisfied himself
that what he has in mind is possible, he will write it.1O Undoubtedly, he is very conscious
of considerations such as the resonance of the open strings, and even details such as the
need for a brief pause before a pizzicato passage to allow the player to take up the required
right-hand position; but as a non-guitarist he is not inculcated with guitarists' pre-conceived
expectations, and so he cannot pander to them.
8 Elliot Antokolett, The Music a/Bela Bartok (Los Angles: University ofCalifomia Press, 1986), p. 138.
9 8eJaBart6k, 'The Relation Between Folk Music and Art Music', in Essays ed. by Benjamin Suchof( (New York: 1976), pp. 364-371_
10 Stephen Dodgson, inteIView with John Mackenzie, 24th January 2000.
97
Form
On the local scale, Dodgson's forms depend on a succession of small gestures, such as an
arch-shaped phrase, a brief fanfare, or a short series of relatively long notes leading to
jagged figures forming an upbeat onto the next accent. These small rhetorical gestures are
interspersed with short transitional passages which may either relieve the tension generated
by the primary elements, or more often, produce a wave of intensity as one of them is
approached. Structures are often formed when a component of a gesture is magnified, and
made to work on a larger scale, straddling a movement or more, to give unity to apparently
disjunctive elements. (The form structures of Dodgson' s solo guitar pieces, as well as other
data relating to them, are set out in Table 5.2 (Appendix 1.)
Harmony
The harmonies inherently suggested by the guitar arise
from its tuning: The reason that four of the five intervals
-e-
are made to form a perfect fourth arises from human "IT
physiology. One finger is allocated to each fret, and 'stopping' a string at subsequent frets
corresponds with rises of a semitone, so that when all of the four fingers have been used,
the interval of a major third is created from the open string to the note played with the
fourth finger. The player is then able to raise the note a further semitone by moving on to
the next string, removing the need to move the hand along the neck. There are a number
of reasons why the second and third highest strings are tuned to form a major third. It
means that the outside strings lie two octaves apart, and thus avoids the minor sixteenth that
would result if all the strings were separated by a perfect fourth, and the attendant
difficulties that that would present the guitarist when forming chords by placing a barre
across the strings with the:first finger, and it creates the minor 6/
3
chord which results when
the top three open strings are sounded, and the major 6/
4
chord which is produced when the
second, third, and fourth (thinnest) strings are played together.
Omitting the duplicate E, and re-arranging the pitches and
registers of the notes produced by the open strings, creates a column
of fourths, which contains an inversion of the major chord the root
of which is a minor thirteenth above the note at the foot of the column, and an inversion of
the relative minor of that major chord. Historically, composers have subverted the influence
98
of the column of fourths in favour of the major and minor chords that are inherent in it, and
therefore with the major and minor key systems associated with them. When Stephen
Dodgson writes for the guitar, he does not subvert the influence of the fourth, but utilizes
it. The fourth movement of Partita No. 1 starts with vigourous chord strumming (Ex. 5.1).
Ex. 5.1 Partita No.1, .fh movt. Stephen o d g s o ~ bars 1 -7.
The chords occupying each of the first six bars contain the notes from a column of fourths
,
shown in Ex. 5.2.
r.. ~
-
I{ 0-
....
'"
~
(> 0 (> 0 0 u
~
-
~
-
.
,.
AT
-..:.
(D duplicated) (C omitted) (E duplicated)
(D duplicated)
Ex. 5.2
The upper notes of the strummed chords fOIm an arch shape, whilst the notes underpinning
the columns on which the chords are based, although not audible, themselves move in
fourths to create an inverted arch shape. The chords are given a major/minor influence by
their inherent simultaneous inclusion of the major chords the roots of which lie a minor
thirteenth above the note at the foot of the column, and, in each case, its relative minor (F
majorlD minor; C major/ A minor; G majorlE minor; G majorlE minor; C major/ A minor,
F majorlD minor) which major/minor ambiguity is then played upon during the course of
the movement.
In order to analyse the form, use of motifs, and harmony in Dodgson's solo guitar
music in sufficient detail, a single work, Merlin, is examined over the following pages.
Semiotic analysis is particularly conducive to the examination of music that features the
recurrence of motivic types (it is patterns of recurrence that determine where one motivic
99
unit ends and the next begins), II and because Merlin has many instances of repetition of
motivic types (as we have seen, literal repetition is Dodgson's music is rare across the
whole of his output), semiotic analysis (also know as distributional analysis) is used here.
Semiotic analysis sets out the main features of the piece, that is, the units that are
significant within it, and the way in which these are distributed throughout it, to reveal the
principles that govern the distribution. The first stage is the segmentation, and this itself
is divided into two steps. In the first paradigmatic analysis different motivic types are
identified and labelled ~ B, C etc., with variants labelled AI, B 1, C 1 etc., and events
occurring only once, and therefore not regarded as paradigmatic headings, as x, y, z etc. The
second step of the segmentation stage is the second paradigmatic analysis, in which the
long and irregular motifs identified in the first paradigmatic analysis are divided into their
component figures, which are numbered and arranged in columns, each column containing
a common feature, linked to a Feature List that is peculiar to the sections of the piece tmder
consideration.
The segmentation stage is contained in Appendix 2. The sections are divided by
type: ~ A' and A" followed by B, B' and B" (see post). The first paradigmatic analysis
of section A is set out to illustrate the process, but only the second paradigmatic step is
included in respect of the remaining sections (which themselves take account of the first
step) in order to save space.
The second stage is syntagmatic analysis, which draws data from the second
paradigmatic analysis, which is set out in charts (these appear after the Feature Lists on the
following pages). The charts are arranged in columns showing how each figure and feature
correspond, in the sections of the piece under consideration. There follows a distribution
table for each section or group of sections, that gives a visual indication of the way the
building-blocks of the piece are used in its construction. In any analysis, the process needs
to start with an overview, and the division of the whole piece into large sections, which can
then be seen in greater detail by means of sub-division.
Overview
Merlin provides a good example of what Dodgson describes as 'double rondo'
form. 12 Rather than following the conventional rondo model in which various (different)
couplets are interspersed between appearances of a recurring refrain, in double rondo form,
11 Nicholas Cook, A Guide To Musical Analysis (Oxford: Oxford n i v ~ i t y Press, 1994), p.152.
12 See extract from interview with UlfMiiller, reproduced on page 49.
100
both of two elements return alternately in changing perspective. The device exploits the
idea of the returning statement, in which the statement is expanded, contracted, or altered
in some other way on re-appearance.
The structure of the piece is as follows:
A bar 1 to 14
: 14 bars of 3/2 un poco lento
= approx. 50 seconds
B bar 15 to 110 : 96 bars of 3/8 agitato
A' bar 111 to 130 : 20 bars in 3/2 un poco lento
B' bar 131 to 389 : 259 bars of 3/8 agitato = approx. 194 seconds
A" bar 390 to 415 : 26 bars in 3/2 un poco lento = approx. 94 seconds
B" bar 416 to 449 : 34 bars of 3/8 agitato = approx. 25 seconds
Timings are based on the given metronome markings of d = 50 for un poco lento, and
J. = 80 for agitato. The A and B sections are in stark contrast: the A sections are broad,
sonorous and based on chord structures, whilst the B sections are much more linear in
conception, with a concentrated nervous agitation. However, analysis of the distribution
charts reveal that although a number of features distinguish the two elements, there are
common features that unite them.
Reading the distribution tables
In the A sections, feature13 3 is a distinctive dotted rhythm (shown as VI on the
Feature List) of which eleven of twenty eight appearances include or comprise the interval
of a major 2nd. It is often metrically displaced, for instance in section A, figures 3, 9, 15 and
18 begin on the 2
nd
, 2
nd
, 3
rd
and (i1h crotchets respectively, and during section A, feature 3
always leads directly to feature 4, a chord (reduced to a single note for figure 19) that is held
for between two and six crotchets, usually across a bar line. This pairing of features
dominates the A sections, and the increasing significance of feature 3 during sections A'
and A" mark it out as the definitive and obsessive feature of the A sections.
13 Corresponding with the column in which the feature appears-
101
Three of the four held chords (figures 4, 10 and 16), and two additional figures - 12
and 22, help to establish the basis of the harmony.
CD
@)
@
@
@

-&
-&

-&

! i -9
-& -&
Ex. 5.3
Viewed from the perspective of tertiary harmony, each of these chords would be designated
as a minor seventh with an added fourth (although the last of them without a fifth). Shown
in Ex 5.4 below, with the notes rearranged and duplicated notes omitted, these symmetrical
structures (minor 3
Td
, major 2
nd
, major 2
nd
, minor 3
Td
) are also pentatonic formations.
0
@ @
@ @

&1,b
31
qf
i>
i'
Ex. 5.4.
However, the melodic line pulls the prevailing tonality through a circle of fifths, touching
C, G, D, A and E respectively, and with the notes again rearranged, according to that
principle, the quartal structures shown in Ex. 5.5 emerge:
CD
@ @
,

i
-& -&
U
@
@
!
i
-&
-&
Ex. 5.5

i
And the exception, figure 16, can be rearranged:
All of which suggests that the tertiary harmony which is inherent through the presence of
inversions of major and minor triads, arises as a by-product of the real basis of the harmony,
which is the layering of fourths (discussed in greater detail post).
Tonally, Merlin is centred on the pitch A, the first indication of which is the A minor
chord (figure 6) that concludes the opening period in a Neapolitan relationship, and a
melodic feature of the A sections is that denoted as feature 6: a dyad or triad that moves a
minor second lower over a sustained note or notes (see figures 13 and 14 in section A, 35,
102
36 and 44 in section A', and 55, 60 and 69 in section A" - in figure 55, exceptionally, a
single note moves against those that are sustained).
Thus the A sections are characterised by linear minor seconds, a tonal anchorage on
the pitch A, and the interval of a perfect fourth, and since the interval of a minor seventh
is formed from alternate degrees of a column of fourths, its inversion, the major second, is
seen to occur frequently, particularly in feature 3.
The distribution charts reveal the same characteristics in the B sections. Most of the
intervals with which the B sections open, and indeed many thereafter, form linear minor
seconds (see features 1 and 3) which, although contributing to the sense of concentrated
nervous agitation that acts in contrast to the broad and sonorous A sections, provide a
connective link between the A and B sections. This link is reinforced at the conclusion of
the piece (figures 223 - 225) when an emphatically re-stated A minor chord includes an
inversion of a minor second (C - Db) that prevents it, to the last, from committing fully to
a minor tonality.
The tonal anchorage that is established in the A sections is carried into the B'
section when, in figures 92 - 103, and 124 - 133, the pitch A acts as an implied pedal tone.
Although a modal G is introduced later (figures 134 - 147) the effect it serves is to provide
a modal ground, as the tonal centre of A is entwined by a proliferation of linear minor
seconds and its inversions in the upper voice. The thinner texture of the B sections leads
to fewer appearances of chords, but the first large chord to appear (figure 69) is derived
from a column of fourths based on the pitch A (with the G triplicated).
In the same way that the distinctive dotted rhythm (feature 3) led to a held chord
(feature 4) in the A sections, the distinctive motif that forms the first texture in the B
sections leads, after a number of repetitions, directly to a long-held chord that comprises or
includes the interval of a major second (the second feature in the B section). The suspense
created by the major second interval creates a sense of bustling activity leading to a period
of relative inactivity which is nonetheless charged with expectation as feature 1 reaches
feature 2. This too provides a link with the A sections, in which the interval of a major
second was also predominant.
A characteristic peculiar to the B sections is feature 6, which becomes increasingly
significant as section B progresses, and also as section B' progresses, as it continually halts
the flow of the short components, and contributes to the sense of nervous agitation that is
created by the fast-moving minor seconds at the opening of the sections.
A
D
R
c
d
p
ro
r4th
tM2
103
Feature List for Merlin (Sections A, A' and A")
Ascending
Descending
With repeated note
Conjunct
Disjunct
Parallel
Repeated an octave higher
Repeated a fourth higher
Comprising or including vertical interval of a major 2nd
t4(N)
t4(Om)(N)
t4(Dis)(N)
Dd
Configuration of notes (one duplicated) comprising 4
th
s based on note N
Configuration of notes comprising 4ilig based on note N from which one note is omitted
Configuration of notes comprising 4
th
s based on note N from which one note is displaced
Dyad descending a semitone against a lower pedal
Dt
D3 (con)
Triad descending a semitone against a lower or higher pedal
Descending a 3rd at the conclusion
I In crotchets II
12
13
14
15
16
J
J J
J J J
J J J J
J J J J j
J J J J j J
II Notes on three consecutive crotchet beats where the first overlaps the second
ill Crotchet followed by minim
IV Minim with mordent followed by two crotchets
v
VI
Dotted rhythm
Extended dotted rhythm
Chord tied
over barline
VI
V2
VII
Vl2
VII Dotted minim followed by a crotchet
VIII Dotted semibreve
1 .r j
j.. j l .r j
J ~ J
J-+ J
IX Notes on 4 consecutive crotchet beats having the 2
nd
beat emphasised with a
chord
104
Section A
Section A'
Section A"
1 Ad4
tb
I2 ro
23 R 1M2 VI
1 Ad4
tb
I2 ro
2 Dd4
tb
III (VI2)
24 1M2 VB
2 Dd4
tb
III (VI2)
3 R tM2 VI
25 15 AcAcDcDd 1 M2
3 R 1M2 VI
4 14(C)1M2 VII
26 !M2RAcVI
4 t4(C) 1M2 VII
5 RIX tM2
27 1 4( G,tI) VII
5 RIX tM2
6 VITI 28 IXRD3(con)
6 vrn
7 Ad4
tb
I2 r4tb
29 DdlAcDdAd
7 Ad4
tb
I2 r4th
8 Dd4
tb
III (VI2) 30 IM2AcR VI
8 Dd4
th
III (VI2)
9 R 1M2 VI 31 DdRVI
9 R tM2 VI
10 14(G) VII 32 tM2 VII
10 14(G) VII
11 R IX 1M2 D3(con) 33 15 AcAcDcDd 1M2
11 R IX 1M2 D3(con)
12 Adt4(D)tM2 R D3(con} IX 34 RD3(con)VI 50 15 DcAdDdAd
13 Ddcp II 35 Ddcp II 51 1M2 R V2
14 Dtcp II 36 DtcpII 52 t4(D) R V2
15 RVI 37 RVI 53 VI2
16 14(E) VI2 38 VI2 54 RDdVI
17 IVD3(con) 39 15 AdDdAcDd 55 VI2Dc
18 1M2 VI2 VI 40 RVI 56 1M2 R VI
19 RVII 41 1M2 VII 57 IM2RV2
20 14(Om)(G) 42 t M2 15 AcAcDcDc 58 1M2
21 14(Om)(G) 43 RDdVI 59 DcAc
22 14(E) II 44 Dtcp 60 DtcpJI
45 RVI 61 RVI
46 VI2 62 14(DisXG)
47 15 AdDdAcDd 63 15 AdDdAcDd
48 RVI 64 RVI
49 DdDdDd 65 14(Dis)(A)
66 15 AcAcDcDc
67 14 DcDcDc
68 RDdVl
69 Dtcp
70 RVI
71 VI2
72 15 AdDdAcDd
73 RVI
74 t4(C)lM2 R VI
75 14(C)1M2 R V2
76 14(G) VI2
77 I6R
Section A
1 2 3 4
1 2 3 4
3 4
3 4(n)
4
4
Section A'
3 4
3 4
3
3 4
3
3 4
3 4
3
3 4
3
Section A"
1 2 3 4
1 2 3 4
3e
3e 4
3
3
3e 4
3 4
3 4
3
3 4
3
3
3e 4
1 = Ad4
th
12 ro
2 = Dd4
th
ill (VI2)
3 = VI (3e is extended [V2])
4 = Held chord ((n) = held note)
105
Distribution
5
s
5
5 6
6
5*
*modified, but retaining shape
t
7
5
u
7
6
6
8
7
6
8
v
5 w
5 8
6*
*one note only lowers a semitone
x
6
8
7
Y
6
8
z
5= IX
6 = Dyad or triad descending a semitone
7 = IS AcAcDcD( c or d)
8 = 15 alternating direction of movement
stuvwxyz = occurring
only once, and therefore
not regarded as paradig-
matic headings
106
Feature List for Merlin (Sections B, B' and B")
A Ascending
D Descending
R With repeated note
c Conjunct
d Disjunct
! M2 Comprising or including vertical interval of a major 2
nd
GpR Group of notes some or all of which are repeated
I .JJ J J
12 J' .H J J (rhythm I pre-extended with a quaver)
13 n J.J J J (rhythm I pre-extended with two quavers)
14 JJ Jj J J
(rhythm I pre-extended with a pair of semi-quavers)
15
ffl
JJ J J (rhythm 1 pre-extended with three semi-quavers)
16
J j j j J
17 JJ JJ JJ
18 m
19 JJ f
110 .F.J J
111 JTI
112 .ffTI
Jj JJ JJ (rhythm 17 pre-extended with four semi-quavers)
113 .ffTI
114
Jj
.FJ
115
.fffj
II
J .P
II2
J
Jj
113
j
J
j
ill
J J J
III2
.r J J J
(rhythm III pre-extended with a quaver)
ill3 n J J J
(rhythm m pre-extended with two quavers)
III4
J J J n
(rhythm III post-extended with two quavers)
J
IV
I J' J
I
I
I
V
it
.r
107
VI2 n
vn J ~
vm fj ~ n
I
IX __ Jr--J""---'J l j
I
Ned Chord or dyad held for N bars
NRt N bars rest
108
SectionB
1 I2RAcDcDc
36 IV tM2Ad
2 I AcDcDd
37 II tM2 Ad
3 I AcDcAc
38 IV 1M2 Ad
4 2Cd 1M2
39 III AcAc
5 I2 RAcDc(Ac&Dc)
40 VGpR
6 IIGpR 1M2
40 VGpR
7 II GpR 1M2
40 V
8 2Cd tM2
41 III3 AdDdAcAd
9 I2RAcDcAd
42 III AcAd
10 I AcDcAd
43 ID3AdDdAcAd
11 I AcDcAd
44 III AcAd
12 II AcAd
16 lRt
13 llAcAd
45 13 RRAeDeAd
14 II AcAd
46 I AeDcDd
15 llAcAc
47 18 AcDe
16 lRt
48 19 AeDc
17 13 RRAcDcAd
49 III AcDe
18 I AcDcDc
50 IIDd
19 16 AcDcAcAc
32 2Rt
20 17 AcDcDeDcAe
51 lCd 1M2
21 I AcDcAd
16 lRt
22 I AcDcAd
51 lCd 1M2
23 I AcDcAd
52 15 AcDeRAcDcDd
24 I AeDeAd
53 I AcDc(Ad&Dd)
25 2Cd 1M2
53 I AeDc(Ad&Dd)
26 I2 RAeDcAd
53 I AcDc(Ad&Dd)
27 IIDd
32 2Rt
28 IIGpR
54 lCd
29 2CdtM2
16 lRt
30 14 AcDcAcDeAd
54 lCd
31 I AcDcAd
16 lRt
31 I AcDcAd 55 lll3 AdDdAdAd
32 2Rt 56 IDAdAd
33 lCd 1M2
57 IDAdAd
16 lRt 58 VGpR
33 lCd 1M2 58 VGpR
16 lRt 58 VGpR
34 13 RRAcDc(Ac&Dc)
59 VIGpR
35 II 1M2 Ad 60 VII
61 3Rt
109
Section B'
62 12 RAcDcDc
106 IX DcAc
63 I AcDcDd
107 GpR2Cd
64 I AcDcAc
108 2Cd 1M2
65 2Cd 1M2
109 2Cd
66 12 RAcDc(Ac&Dc)
110 GpR2Cd
67 II 1M2 Ad
111 2Cd
68 II GpR tM2
112 R3Cd
69 2CdtM2
113 DcDcDd
70 12RAcDcAd
84 III3AdDdAcAd
71 I AcDcAd 85 III AcAd
72 18 AcDc 32 2Rt
73 19 AcDc 114 DcDcDd
72 III AcDc 115 III3 AdDdAcAd
74 VTIIAcDcAd 116 III DcDd
75 III AcDc 117 IIIDdDc
76 18 AcDe 118 IIIDdDd
77 IIOAcDc 119 V12De
78 1I2 AcAc 120 V12De
79 II Ad 32 2Rt
80 II3 GpR (AeAcAd) 121 lCdGpR
81 2Cd 16 lRt
82 II3 GpRDd 121 lCdGpR
83 2Cd 16 lRt
84 III3AdDdAcAd 121 lCd
85 III AcAd 122 V
86 III3AdDdAcAd
62 12 RAeDcDc
87 III AcAd
63 I AcDeDd
88 VGpR 1M2
123 I AcDc(Ac&Dc) 1 M2 GpR
88 V GpR 1M2
124 III4 1M2 DdAdR 1M2 Dd
88 V 1M2
125 12RAcDcDc
89 Ill3 AdDdAcAd
126 I AcDeAd
90 III AeAd
127 I AcDcDc
91 VGpR
128 I AcDcAd
91 V
129 18 AcDc
92 III2 GpR 1 M2 DdAd
130 RI8AcDc
93 IIIDdAd
131 III2 1 M2 GpR DdAd
94 III4 DcAc 1M2 GpRDd
132 IIIDdAd
95 III3 1 M2 DdAdDdAd
133 III4 DeAc ! M2 GpR Dd
96 III DeAc
134 112 DcAcDcAcDcAdDcDcDc
97 III4 DdAd 1 M2 GpR Dd
135 17 DcAdDdAcDc
98 lIB ! M2 DdAdDdAd
136 17 DdAcDcAcDe
99 III 1M2 DdAd
137 17 DcDdAdAcDe
100 IIIDdAd 1M2
138 17 DcRRDcAc
101 III 1M2 DdAd
139 17RAdDdRR
102 IIIDdAd 1M2 140 17 DcAdDdAcDc
103 III 1M2 DdAd
135 17 DeAdDdAcDc
104 II (AcAcAd)
16 lRt
81 2Cd
135 I7 DeAdDdAcDe
105 GpR lCd
16 lRt
110
135 17 DcAdDdAcDc
169 III DcDd
141 17 DdAdDdAdDd
170 III DcDd
135 17 DcAdDdAcDc
171 IIIAdDc
16 lRt
172 IIGpR
135 17 DcAdDdAcDc
173 VGpR
141 17 DdAdDdAdDd
173 VGpR
142 Il3 DdAdDd
174 VIGpR
142 Il4DdAdDd
175 VII
142 Il5 DdAdDd
176 Il2 DcAcDcAcDcAdDdAcDc
143 17 DdAdDdDdAd
177 17 DcAdDdAcDc
144 113 DdAcDc
178 17 DcAdDdAdDd
144 Il4 DdAcDc
179 III3 AdDdAcAd
144 Il5 DdAcDc 180 III AcAd
145 17 DdAcDcDdAd 16 lRt
146 17 DdAcDcAcDc 181 lCdGpR
146 17 DdAcDcAcDc 16 lRt
146 17 DdAcDcAcDc 181 lCd
16 lRt 182 VtM2
147 112 DcAcDcAcDcAdDdAcDc 183 13 DcDcAcDcDc
148 17 DdAdDdAdDd 184 I AcDcDc
148 17 DdAdDdAdDd 185 I AcDc(Ac&Dc)
148 17 DdAdDdAdDd 186 2CdtM2
149 V 187 V
150 Il2 DdAdDdAdDdAdDdAdDd 188 13 DcDcAcDcDc
151 17 DdAdDdAdDd 189 I AcDcDc
152 17 DdAdDdAdDd 190 I AcDc(Ac&Dc)
153 V 191 2Cd 1M2
154 112 DdAdDdAdDdAdDdAdDd 121 lCdGpR
155 17 DdAdDdAdDd 16 lRt
156 17 DdAdDdAdDd 121 lCdGpR
157 VGpR 16 lRt
157 VGpR
121 lCd
157 V
61 3Rt
158 Il2 DcAcDcAcDcAcDcRR
192 lCdGpR
159 17 DcAcDcRR
16 lRt
160 VGpR
192 lCd
160 VGpR
193 III3 AdDcDdDc
160 V
194 III DdDc
161 VI
195 III3 AdDcDdDd
162 VII
196 IIIDdDd
16 lRt
197 13 DcDcAcDcDc
163 VII DdAdDd(Ad&Dd)Dd
198 I AcDcAc
199 lCd 1M2
200 II Ad GpR
164 Il2 DcAdR(Ad&Dd)DdAdDd(Ad&Dd)Dd
199 lCd 1M2
200 II Ad GpR
199 lCd 1M2
165 III3 AdDcDdAc
201 4Cd (single note)
166 III DcDd
202 DcDcDd
167 IIGpR
16 lRt
168 III3 DcAdDcDc
111
Section B"
203 I2RAcDcDc
204 I AcDcDd
205 I AcDcA( c&d)
206 2ed
207 V
208 ill3DdAdDcDd
209 1ITAdDc
210 ill DcDd
211 V
212 ill3 DdAdDcDd
213 ITl AdDc
214 ill DcDd
215 112 DcAcDcAcDcAdDdRR
216 17 DcAdDdAcDc
217 17 DdAdDdAcDc
218 112 DcAcDcAcDcAdDdAdDd
218 I12 DcAcDcAcDcAdDdAdDd
219 17 DdAcDcAdDd
220 17 DdAdDdAdDd
221 112 DdAdDdAdDdAdDdAdDd
222 17 DdAdDdAdDd
222 I7 DdAdDdAdDd
223 VGpR
223 VGpR
223 VGpR
224 V1GpR
225 VII
16 lRt
112
Distribution
Section B
12
1. Rhythmic figure I (superscripts
1
indicate variants defined in
1 2
Feature List) in which the first
12
2
note rises, and then falls, a major
2 second.
2
12
2. Concluding chord or dyad
1 including or comprising a major
1 3 second (22 not including or
3 comprising a major second).
3
3 6 3. Rhythmic figure III (* denotes
1
3
a previously-established shape
1
grouped as duplets).
1
6
17 4. Rhythmic figure V (4
2
= VI, 4
3
=
1
VII, 44 = VI2).
1
1
5. Isolated chord or dyad including
1 2
or comprising a major second (52
12 22 not including or comprising a
2
major second).
2
14 6. Whole bar rest [(2) and (3) denote
1
two and three bars' rest
1
6(2)
respectively] .
5 6
5 6
7. Rhythmic figure IV including a
1
3
2
7
major second.
2
7
3
8. Four notes, descending, each
4
note occupying a whole bar.
4
4
3
3
3
3
3
3
6
1
3
1
1
8
1
10
1
8
22 6(2)
5 6
5
1
5
1
1
1
6(2)
52
6
52
6
3
3
3
3 4
4
4
4
2
4
3
6(3)
113
Section B'
12
3
3
4
1
'"
4
.:>
1 2
3
Y (against a pedal A)
12
2
3
3 "4
2 44
4
2 44
4
12
6(2)
4
2
1 52
6
4
3
6
1
8
52
6
- -- --
3 against a pedal -A
1
9
52
6
3 "
1
8
12
3
"
1 (rhythm vm)
1
3
3
"
111
1
3 "
1
8
3
4
3
"
1
10
12
3
3
22
1
3
22
1
22
22
1
3
3
22
1
8
3
22 12
3
22
3
3
Y 3
22
3 3
4
4
3
3
3
3
against a pedal G
4
3 3
" 4
2
4 3 " 4
3
4 3 " 3
3
against a pedal D
4 3 " 3
"
3
3
3 " 3 "
----
3 3 " 3
3
4 3 " 6 3 6
4 3 " 6
52
6
3
2
3 "
52
3 3 " 4
3
4
3 "
6 1
3
3
3
3 " 1
3 3 "
1 2 4
3
4
3* " 1
3
3
3
3* " 1
3
3* " 1 2
3 3 "
52
6
3
3* "
52
6
3
3* "
52
6(3)
3
3* "
5 6
22
3 " 5
22
3 "
3
3
22
3 (rhythm IX)
3 "
3
22 3 "
6 Y
22
3
3
--
"
3
22 3 against a pedal A 1
3
22 3 "
1
22 3 4 "
5
22 Y "
2 5
8
3 "
2 5
3
3
3 4 "
2
2
(note)
3
3
3
"
8
6(2)
3 "
6
8 3 4
"
22
4
3
3
3
3 4
3
3
3
3
3
3
against a pedal B
3 "
3 "
Y "
3
3
"
3 "
3 "
3 B pedal moving to A
3 against a pedal A
3 " 4
--
4
4
4
2
4
3
114
Section B"
6
115
Harmonic analysis of sections A, A ' and A "
Detailed consideration of the harmonic basis of Merlin is restricted here to the slow
sections: A, A' and A". Analysis of Section A reveals a specific harmonic function for
each figure (see ex. 5.6, page 117). Broadly, the conclusion of the opening period at figure
6 is effected by means of tendency notes resolving onto the A minor triad. Cyclic
transposition takes the quartal root from C to G at 7, and continues to form a circle of fifths
at 11, as the root moves from G to D. At 13, diatonic transposition moves the root a tone
higher. However the lowest note in the score moves from D (established at 11) to A,
continuing the influence of the circle of fifths, whilst simultaneously retaining the quartal
structure (based on E). Prolongation sees the E-based quartal structure through to the end
of the section, during which period the root E shifts out of phase (to F and E b)
momentarily, before tending back to, and re-affirming E, and an F - B b combination acts
as an appoggiatura onto E - A at the conclusion.
Seen in a greater degree of detail:
1. Two inner pitches of what is subsequently revealed as a column of fourths based on
C are repeated.
2. The root pitch ( C ) appears in a higher register.
3. The combination of C and B b suggests a C7, that could resolve on an F major
chord.
4. Instead, the chord that follows has the bass note F, but is not triadic, comprising all
the pitches of the quartal column.
5-6. The deletion of two pitches thins the texture, which with the attendant diminuendo
and ritenuto, complements the resolution onto a diatonic triad, A minor (6), which
is effected by means of step-wise motion, as F falls a semitone to E, and A b and E b
resolve onto A and E respectively. The B b of the originating column tends a
semitone lower to A, whilst the column's root C is retained as the minor third of the
new root. Hence the tension of the quartal structure finds repose on the minor
chord.
7 _ 10. Following the cyclic transposition at 7 - 8, a change is seen at 9 (relative to
3) in that the upper extreme of the column (Ab) is anticipated, but then deleted at
10 (after a brief semitone shift) where the practicalities of guitar playing will not
accommodate it (that is, its inclusion would be at the cost of another pitch from the
column).
116
11-12. The E b acts as a appoggiatura onto C, as the 'D column' is established, which is
prolonged through 12.
13. The ambiguous diatonic transposition of the column to E (ambiguous because the
use of A as the lowest note in the score suggests the continuation of the circle of
fifths) is approached by semitone shifts as 13 b and F act as an appoggiatura onto A
and E respectively.
14. the characteristic semitone shift is reinforced, as B is introduced.
15. G# and D# are added to B to act as tendency notes to A, E and C respectively.
16 This chord sees the [mal use of pitch C in this section. Its deletion thereafter helps
to clear the quartalltriadic ambiguity introduced at 13, in favour of the quartal root
E (by the elimination of the major 3rd C - E), which, after the phase-shift at 18, is
stated baldly at 19, and continues to underpin the remainder of the section.
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118
Section A' also employs cyclic transposition, diatonic transposition, deletion and
prolongation of quartal structures, and the use of tendency notes to resolve onto triads (see
ex. 5.7, page 120). The section opens with a quartal structure built on D#, which cyclically
transposes a perfect fifth lower at 27, after which diatonic transposition takes it to F #, at 29.
At 30, D is established as the quartal root, and at 31, cyclic transposition moves it a perfect
fourth lower. At 32, diatonic transposition moves A to B, which is prolonged throughout
33 - 37. At 38 there is another cyclic transposition from B to F#. Figure 43 comprises
pitches from the first unambiguous triad in this section, a G major, which modulates
diatonically to fourths built on C at 4 7 (although made ambiguous by the substitution ofE
for F) which transposes diatonically to E, where it remains until the conclusion of the
section.
23. Two pitches taken from what is subsequently revealed as a column of fourths built
on D # are sounded together, and repeated in the dotted rhythm denoted as feature
3 (the feature that is characteristic of the A sections).
24. The root pitch (D#) appears in a higher register (cf. figure 2).
25. All the pitches in the quartal column appear, emphasised by the large chord
immediately prior to 26. The passing E # acts as a tendency note to F # .
26-27. The pitch (A) at the upper extreme of the impending quartal column is
but is then immediately excluded from the following chord because, given the
melodic line, its inclusion on the guitar is impossible, or would be at the cost of a
pitch lower in the column (cf. Features 9-10).
28. The diatonic transposition from a G#-based to an F#-based column is eased by the
use of C # and G # as tendency notes to D and A respectively.
29. The parallel semitone shift from F#IB to G/C immediately prior to figure 30,
similarly anticipates the impending diatonic transposition from F # to D.
30-32. As cyclic transposition moves the root from D to A, at 30 - 31, the pitch B tends to
C and the column offourths on A that is introduced at 31, is intruded upon by an
,
F #, that acts as a tendency note to G as the column moves diatonically to B at 32.
33. The unaccented octave A b s contributes to the shape of the phrase, (denoted as
feature 7) rather than its structure.
34. As the prolongation of the 'B column' continues, the introduction of the pitch B b,
acting as an appoggiatura to G, momentarily distorts it.
119
35. Another B b is accompanied by F, which jointly fonn a semitone appoggiatura onto
A and E.
36. The F q, approached from above in a similar way, is to act as a tendency note to
E in due course.
37-38. At 37, a flatted D is combined with the existing B b and F q, to diverge onto D q, A
and E, included in the quartal structure introduced at 38.
39. The addition ofF q, (whilst the F# is retained) suggests a notional extension of the
column to include all the pitches from F# to F q (see middle stave).
40-41. The pitches A and G, which were 'missing' from the previous figure, are
immediately included at this point.
42. The unaccented E b in the higher register contributes to the shape of the phrase
(feature 7), whilst the lower E b acts as a tendency note to D.
43. The D onto which the E b steps, acts as the 5
th
in a G major chord, the first
appearance of an unambiguous triad in this section, which contributes to a sense of
repose as the tension induced by the quartal harmony is dissipated.
44. That sense of repose is immediately broken as B q and B b are combined, in a
chord that could be seen as a B b major, or part of a Gm7, were it not for the
B q intrusion.
45-46. A low note E is introduced into the score, which distantly anticipates the conclusion.
Above it is set a G minor chord, from which the B b and D tend to A and C # as an
A major triad is reached at 46.
47-48. The quartal influence is re-introduced at this point, as is the influence of notes
a semitone apart (cf. figure 44) when the inclusion of E q anticipates the diatonic
transposition from C to E at 48.
49. A combined B b and Ab act as an appoggiatura as the A' section concludes
caimato, with only two pitches from the E-based column played piano, and as
harmonics.
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Section A" combines elements from the previous two slow sections (see ex. 5.8,
page 123). It starts in the same way, with a repeat of the first four bars of section leading
to the reposeful cadence onto A minor. Bars 5, 6 and 7 are also an exact replica of the
opening e c t i o ~ formed from a quartal structure based on G, and cyclically transposing up
a perfect fifth at figure 11. Immediately thereafter (figure 50) the music diverges from the
original, spending longer on the D-based column before transposing diatonically, as it did
in the opening e c t i o ~ to a column based on E, at 53. Here again, there is an ElA ambiguity
(and again suggesting a circle of fifths) as an A positioned as the lowest note is sounded
throughout 55-56 and 59. The prolongation is longer here than in the opening s e c t i o ~ and
the column is subject to distortion through pitches momentarily diverging from it.
Figure 68 comprises pitches from the first unambiguous triad in this s e c t i o ~ aD
major chord. In common with section A', a period of triadic activity continues as the
conclusion of section A" approaches, before a quartal structure based on C transposes
cyclically to G, leading to a peaceful conclusion on an A minor triad.
1-11. As section A, terminating with the establishment of a column of fourths on D.
50-52. Pitches from the column are prolonged, and two notes forming a major second are
repeated in an extended version of the dotted rhythm that characterizes these
sections (feature 3). An E ~ at the end of 51 transpires to be an anticipation of a
diatonic transposition from D to E at 53.
53. In a complement to the way that E ~ anticipated the move to an E-based column, B b
is held over as a pitch-suspension from the D-based column that preceded it (see
middle stave).
54. In a momentary departure, pitches E and D move a semitone higher, suggesting a
shift to a C-based column (see middle stave).
55-56. That proves to be a deflection rather than a shift, as the 'E column' pitches are re-
established here. Note however, the momentary appearance ofB b, the 'missing'
note from a C-based column at 55.
57. The pitch E is retained, but distorted, as it is 'stretched' to E b and F, as components
of the 'C' and 'E columns' are combined.
58. The combination of two fourths a tritone apart prolongs the distortion as another
component of the 'C column' (B b) is introduced.
122
59. The E-based column comes back into focus, as the elements from the 'C column'
,
E b , F and B b, are deleted.
60. Triadic and quartal influences are combined as a C major triad shifts a semitone
lower over a low E (cf. figure 36).
61. The pitches G and C both lower a semitone, as A q rises a semitone (cf. figure 37).
62. The F# is retained as the 'E column' is re-asserted.
63. Feature 8 re-appears transposed down a fourth from figure 39.
64. However, this appearance of feature 3 retains only the shape, not the intervals, of
figure 40.
65 E b is retained as a suspension from the previous figure.
66. Feature 8 appears lowered a major sixth from figure 42. (Note that figure 63 was
lowered a perfect fourth.)
67. Figure 67 acts as an extension to figure 66 (cf. 42), which facilitates the modulation
to the D major chord at 68, which, harmonically although not melodically, is a
perfect fourth lower than figure 43.
69-70. Triadic motion progresses from F major down a fourth to C major, touching upon
E major en route.
71. A quartal structure based on F, is added to that based on E, producing maximum
tension which will contrast with the impending repose of the triadic conclusion.
72. Feature 8 appears a perfect fifth higher than figure 47. Pitches from a column of
fourths built on C overlay notes from the 'E column', in anticipation of a shift to a
C base at 73.
73-75. The C-based column is established during three appearances of the dotted rhythm
denoted feature 3 (the last of them in extended form).
76-77. Cyclic transposition moves the column down a fourth, before G is deleted, and F and
B b tend a semitone lower, and E b a semitone higher, to form the reposeful minor
triad.
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124
A guitarist approaching Stephen Dodgson's guitar solos for the first time faces a
number of challenges, but is rewarded by a number of revelations. Although each of the
solos is unpredictable, one forecast that can be made with some certainty is that the fonn
of the solo will be derived from the magnification of some small element to work
simultaneously on a larger scale. Literal repetition is rare, as motifs are subject to a
continual process of evolution, with the reconciliation of a myriad of tensions taking place
with a sense of closure as the final chord is reached: almost always a simple major or minor
chord that corresponds with the tonality that has dominated overall - the only other reliable
forecast. A component of the tension is the astringency that results from the prominence
of the semitone (although in a non-dodecaphonic context) and an element of
unpredictability arises from the frequent use of quartal structures as the foundation of the
solos, although the guitar is used melodically rather than harmonically, often concealing
quartal origins from view. This in itself is a revelation to the guitarist who has come to
view the guitar as a harmonic instrument, who sees, in the Dodgson solos, linear
developments taking precedence over their vertical consequences, although with the whole
often rooted - to a greater or lesser extent - by tonal anchorage to a particular pitch. Another
aspect of the guitar that is revealed by Dodgson's guitar solos is how conducive the guitar
is to rhythmic pungency - a pungency that arises not from insistent repetition, but from
metrical displacement and rhythmic layering, as a deep, steady pulse is overlaid by evolving
rhythmic groupings in the foreground.
Dodgson is by no means the only composer to have extended the repertoire for solo
guitar during the course of the last half-century, but few have written so much for the
medium, and over as long a period of time. The duration of the solos varies considerably,
from 1 Y2 minutes (Serenade, 1974) to a little over 13 minutes (Partita No.2, 1976), but in
other respects the writing has been consistent, and its quality is such that it is regarded by
guitarists as part of 'the daily bread of proper repertoire'14 that it has been Dodgson's
objective to provide.
14 Stephen Dodgson. interview with John Mackenzie, 8th December 1998.
125
CHAPTER 6
Guitar concertos and duo concertos
In the early nineteenth century a relatively large number of guitarist-composers wrote
concertos for the guitar. Many of them were from Italy, such as Franceso Molino (1768 _
1847) and Luigi Legnani (1790 - 1877), each of whom wrote a guitar concerto; Ferdinando
Carulli (1770 - 1841) who wrote two for solo guitar and one for flute and guitar; and Mauro
Giuliani (1781 - 1829) who wrote four, three of which (Op. 30, Op. 36 and Op. 70) are
scored both for full orchestra and in reduced form, for chamber orchestra 1 During the
course of the nineteenth century, the growth in the size of the and a trend towards
harmonic and rhythmic intensification that accompanied the growth of Romanticism, meant
that by the end of the century the guitar concerto was generally regarded to be no longer a
viable proposition. The British composer Earnest Shand (1868 - 1924) wrote his Concerto
for Guitar in 1895,
2
but it was not conceived as an orchestral concerto, but as a chamber
concerto scored for guitar with string quartet, and it did not belong, stylistically, to the
modern era. Its passage work and cadenzas show the strong influence of the Italian
Classicists, particularly Giuliani, whilst its formal design, although set out as a three-
movement classic-romantic concerto, is laced with the influence of Shand's experience as
a 'variety' performer in English music halls, hinging on expressive melody, pathos, and
melodrama.
3
The influence of Andres Segovia
It was noted in Chapter 3 that the 'Torres' guitar had become widely accepted towards the
end of the nineteenth century, but in spite of the increased volume and tonal range of the
modem instrument, it was not until the 1930s that the :first notable concertos for the modem
guitar were written. The resurgence of interest in the guitar was at least partly due to the
activities of the Spanish guitarist Andres Segovia (1893 - 1987).4 Segovia made his debut
in 1909, and his early career coincided with the height of the Spanish musical nationalism
which had been initiated by Felipe Pedrell and which was sustained by Isaac Albeniz and
Manuel de Falla He established an international reputation which was such that he could
1 Andrew Liepins, The Guitarist's Repertoire Guide, 2nd edn (Nottingham: Spanish Guitar Centre, 1994), pp.
2 Stuart W. Button, 'Earnest Shand: An Introduction to His Lire and Music', Guitar Review, 106 (1991) 2-7 (p. 4).
3 Shand gave the premiere of his guitar concerto on 7th February 1896, and ten months later, Schott & Co. published a small subscription nm .of
the concerro. Owing to what would have proved to be the prohIbitive cost of printing the string parts, the versIOn was for .Wlth
piano accompaniment The string parts have not been recovered, the 'Concerto' is still played in the publIShed versIOn, with plano,
by well-known guitarists such as Julian Bream and Vabdah Olcott BIckford.
4 Alexander Bellow, The Illustrated History o/The Guitar, (New York: Franco Colombo [nc., 1970), pp. 191-192.
126
flll the largest concert hall, and he was to become the catalyst for many of the early modem
guitar concertos. In 1923 Segovia gave a concert in Mexico, which was reviewed by the
composer Manuel Ponce (1882 - 1948) for the journal El Universal, and when Ponce went
to Paris to study with Paul Dukas in 1925, he met Segovia, who had settled there, and they
struck up what was to become a lifelong friendship. Ponce and Segovia discussed the idea
of a guitar concerto in 1926, and Ponce got as far as making preliminary sketches, but
neither was convinced of its viability. Segovia remarked:
We feared that the tenuous and expressive sound of the guitar would be swallowed
up by the orchestra or that its delicate and poetic timbres would fade before the
5
sonorous mass ...
However Rafael Adame (1906 - 63) had entered the Conservatorio Nacional de Musica in
Mexico as a guitar student during the year in which Segovia made his appearance there, and
having subsequently become the first guitarist to graduate from the Conservatorio, in 1925,
he wrote the first guitar concerto of the twentieth century, in 1930.
6
Segovia inspired two other composers during his time in Paris, the Italian Mario
Castelnuovo-Tedesco (1895 - 1968), and the Spaniard Joaquin Rodrigo (1901 - 1999)
whom he had met there in 1929. By this time the inclusion of a guitar in an orchestral
setting had come to seem a less eccentric proposition. As well as the precedent set by
Adame, Falla's solo guitar piece Homenaje pour Ie tombeau de Claude Debussy, had helped
to bolster the guitar's credibility, especially since Falla enthused that the guitar was 'coming
back again, because it is peculiarly adapted for modem music,.7 Castelnuovo-Tedesco
wrote Concerto in D op. 99 in 1939, and Segovia premiered it in October of that year.
Ponce conducted a performance of Concerto in D in Mexico City, with Segovia as soloist,
and its success persuaded Ponce that his own reticence had been nrisplaced, and he went on
to complete his guitar concerto Concierto del Sur.
8
However both the Castelnuovo-Tedesco
and Ponce concertos were to be eclipsed, in terms of their public reception, by Rodrigo's
Concierto de Aranjuez which was prenriered in November 1940. In fact, although inspired
by Segovia, because of the deepening European crisis, and Segovia's sojourn in South
America, the soloist for the premiere of Concierto de Aranjuez was not Segovia, but the
lesser known guitarist Regino Sainz de la Manza. The Brazilian composer Heitor Villa-
5 Wade, 'Traditions of the Classical Guitar', p. 167.
6 Matanya Opbee, 'The First Guitar Concerto and Other Legends' , Classical Guitar: July 'pp .. 19-26. Although.a case be made that
Villa-Lobos'sIntroduction to Chorosfor Guitar and orchestra (1929) should be given that distmctIon, for although It forms an to
the Choms cycle, and is set as a traditional symphonic overture in a single span, it uses the orchestra to throw the guItar mto reltef: ID the style
of a concerto.
7 Julian Haylock, Rodrigo. Villa-Iohos. OIslelnuovo-Tedesco, (London: Sony Music (UK) Ltd., 1997), p.7.
8 Wade, 'Traditions of the Classical Guitar', p. 167.
127
Lobos wrote his Concerto for Guitar and Small Orchestra, also dedicated to Segovia, in
1951.
These were serious works. Each is central to the language of its composer, rather
than merely a lightweight excursion into a novel field. At the same time however, they
were innately conservative. Written for or at the instigation of Segovia, or inspired by him,
they prolonged the nineteenth century tradition, and the cult of the virtuoso. Their raison
d'etre was to provide a vehicle for virtuosic display. It is perhaps not surprising that this
is so. The very thought of a guitar concerto in a modem setting was revolutionary. It
implied a disobedience to tradition in itself. To doubly defy convention, and write a
concerto not in the orthodox mould, would have been unthinkable. Hence the first of them,
the Castelnuovo-Tedesco, has cadenzas in both the first and the third movements;
Rodrigo's Concierto de Aranjuez has two cadenzas in quick succession in the central
movement; Ponce's Concierto del Sur has a cadenza in the first movement, and includes
many colouristic effects, such as the rasgueado and tamboura. Villa-Lobos's guitar
concerto was originally entitled 'Fantasia concert ante , ,and was written without a virtuoso
cadenza. However, Segovia subsequently heard a performance of Villa-Lobos's Harp
Concerto, which includes one. Segovia protested that the guitar had been given less
favourable treatment in the Fantasia. Villa-Lobos thereupon added the cadenza and
renamed the composition 'Concerto for Guitar and Small Orchestra'.9 All of these
concertos concerned themselves with the display of the guitar as well as the guitarist. Each
of them (and in particular the Vi1la-Lobos concerto) includes passages on the bass strings
played apoyando with the thumb, which exploit the rich sonority of the guitar, and glissandi
on the treble strings, to bring out maximum sweetness.
Commissions
Dodgson's concertos differed from the first guitar concertos even in their conception.
Rather than a number of composers being attracted to the idea of writing a guitar concerto
by a single soloist, a number of soloists were attracted to the idea of a guitar concerto
written by Stephen Dodgson, who, for each of them, had become a trusted composer for the
guitar. The first was Julian Bream, who made the suggestion in the mid fifties. At that
time, Dodgson had only ever heard one guitar concerto - the Castelnuovo-Tedesco, of which
he had a gramophone recording.
lO
In August 1956 Dodgson retreated to a deserted and
9 Frederick Fuller, The Great Guitar Concertos, Wasbington DC: CBS (1989), p- 9_
10 Timothy Walker, 'Stephen Dodgson in conver.;ation with Timothy Walker', SO{./NDBOARD, Winter (1991), 13-21 (p- 20)_
128
isolated farmhouse in the hamlet of Hippenscombe, which lies in a steep valley in Wiltshire,
where he wrote Concerto for Guitar and Chamber Orchestra No.1 "simply by instincr'.]]
It was to be the first of four commissions for concertos which include guitar. The
second grew out of the first. It had been agreed that Julian Bream would give the premiere
of the first guitar concerto. However the BBC scheduled the recording for January 1959,
at a time when Julian Bream was touring abroa<L so the seventeen-year-old John Williams
made the recording (with the Royal Philharmonic Orchestra under Walter Goehr). In 1968
John Williams recorded the concerto for CBS records, with the English Chamber Orchestra
under Sir Charles Groves. As noted in Chapter 1, the success of this recording was largely
responsible for establishing Stephen Dodgson's reputation as a composer, and prompted
John Williams to commission another concerto, and Guitar Concerto No.2 followed in
1972.
In January 1989 Dodgson was invited to a rehearsal of the guitarist Anthea Gifford
and the violinist Jean-Jacques Kantorow who had established a duo, and wanted to discuss
the possibility of his writing a concerto for them. A few months later the BBC offered to
commission the work, and it was completed in 1990. The premiere performance, with the
City of London Sinfonia conducted by Nicholas Kraemer, was broadcast on 12th July 1991
as part of the City of London Festival. The title, Duo Concerto for Violin and Guitar, was
chosen carefully, for Dodgson draws the distinction between a 'double concerto', which
features two soloists, and duo concerto, in which the 'soloists' continue to act as a duo
within the concerto.12
It was also in 1991 that the Royal Academy of Music held a two-day festival of
Dodgson's guitar music. Two first-year guitar students, Mark Eden and Chris Stell, were
assigned to perform Dodgson's guitar duet Promenade. This was their first engagement,
and they continued to playas a duo, and in 1998, they commissioned Dodgson to write a
concerto for two guitars, which became Concertino for Two Guitars and Strings.
Dodgson's approach to the guitar concerto
A number of factors distinguish Dodgson's guitar concertos from the concertos written for
Segovia. The Dodgson guitar concertos do require a high degree of virtuosity, but this
11 Not quite the first guitar concerto of the twentieth century written by a British composer, as Smith Brindle,had wntten his Concerto
for Guitar and Small Orchestra in 1951, although the manuscript was later destroyed., and Dems Aplvor had wntten (oncentno for GUIIGr and
Orchestra Op.26 in 1954.
12 Walker, In corrversaLion with Stephen Dodgson, p. 16.
129
arises from the musical complexity rather than to serve the purpose of the display of the
guitarist's ability. Nor do they set out to display the capabilities of the instrument. There
is no technical innovation, and only the natural timbre of the guitar is utilised. There are
no passages expressly designed to allow an apoyando stroke with the thumb to create a
vibrant sonority from the bass strings, or glissandi placed to extract maximum sweetness
from the guitar, and none of the Dodgson guitar concertos calls for a prolonged and
respectful silence of the orchestra to focus the limelight on the soloist. Rather than
portraying a battle between the individual and the crowd, each of the concertos calls for the
soloist to enter into a dialogue with the orchestra. The 'opposing forces' are in fact highly
integrated as they share in the utilization of a motif, stated very early, and collude in their
resistance to harmonic repose.
However the Dodgson concertos are also distinguished from the early eighteenth
century concerto model, not only because of their absence of harmonic certainty, but also
because a different approach is taken in respect of the separation of 'concertino' and
'ripieno', of soloist and orchestra.
The question oJbaZance
As soon as the guitar is used in combination with other instruments, the composer's
approach to writing for it has to change. The guitar's volume, density and timbre, make it
a very suitable instrwnent for accompanying the mandolin, or the flute, or a light voice, but
even when the guitar plays its traditional role of humble accompanist, the sound of the
mandolin, flute, or voice, is enough to 'swallow up' the 'delicate and poetic timbres' to
which Segovia referred. The nuances and subtleties of its tone colour can no longer be
appreciated by the listener in the same way as when the guitar plays alone. When the guitar
is used in combination with an orchestra, most of whose constituent instruments have a
much greater dynamic range than the guitar, the tendency for the guitar to be drowned is
exacerbated dramatically. Paradoxically however, when the guitar is given a more
independent and characterful role, as a single-line melodic instrument with only occasional
intetjected chords, its ability to penetrate the mass increases, but only if great care is taken
in the voicing and orchestration.
Dodgson does not resort to complete antiphonal separation of the guitar and the
orchestra, which in any case would hardly serve the integrational purpose of a concerto; and
130
only in the second movement of Concertino for Two Guitars and Strings are the soloists
given the field to themselves for any appreciable period (thirty out of sixty-five bars, see
Table 6.2, Appendix 1). Nor does he take refuge in keeping the orchestra in a permanently
subdued state. Dodgson remarked to Malcolm Crowthers:
Obviously it is possible to accompany the guitar with an orchestra if you're very
delicate, but you can't write a concerto which emasculated the orchestra. The
orchestra has got to sound like an orchestra some of the time otherwise it is simply
unsatisfactory in the sense that a meal is unsatisfactory if you still feel hungry at the
end of it. 13
In Dodgson's first two guitar concertos, the dynamics of the orchestral instruments are
mostly limited within the range pianissimo - mezzo piano when the guitar is playing,
reserving full-blooded orchestral passages for moments when the guitar is at rest. The
accompaniment tends to move in crotchets, transparency being provided by rests and longer
notes, in a way that gives light and air to the orchestra without seeming to emaciate it; and
accompanying passages in the strings are often played 'pizzicato'. Two other characteristics
stand out from all four of Dodgson's guitar concertos: the orchestral instruments are made
to avoid the register being employed by the guitar, and instruments playing simultaneously
with the guitar are always given quite different rhythmic figurations.
Dodgson believes that it is these scoring considerations on which the success of a
guitar concerto depends, and that an unsatisfactory balance in a concerto, or any ensemble
piece with guitar, cannot be put right by minor adjustments in scoring - thinning the texture
here and there - because the problem is the fundamental one that the "wrong sort of music
has been imagined in the first place".14 For the same reason, amplification is no solution
to a problem of balance. Dodgson is not entirely antagonistic to the notion of amplification
- he accepts that it may assist what is already a promising balance to become that little
better, but "it is no good expecting somebody to hang up a microphone to put a bad balance
right".15 During the period during which Dodgson was writing the Duo Concerto for Violin
and Guitar, he replied to a question asked by Timothy Walker regarding whether he had
considered amplification for the first Guitar Concerto:
No, I did not think of it for either of the guitar concertos. I did my best in both of
them to achieve a texture that would not have to be with amplified guitar in order to
13 Malcohn Crowthers, 'Composers ofToday', Performer, (AUgust 1981),27-30 (p. 28).
14 Lance Bosman. 'Stephen Dodgson' Guitar Magazine, (March 1983), 17-21 (p.19).
131
make it work. Now the question of amplification is, "Will it be actually better for
the audience and will it help the guitar"? I would not like to write music, and I hope
I never have, in which amplification is necessary in order for it to work. I think of
it s ~ p l y as an assistance. I think if the guitar is amplified more than that, it changes
the mstrument completely, and you are then listening to loudspeakers and not
listening to the guitar any more. I don't find that attractive. 16
Instrumentation and orchestration
Concerto for Guitar and Chamber Orchestra No. 2 will be considered in some depth, in
respect not only of its instrumentation and orchestration, but also its motivic deVelopment.
In writing his first guitar concerto, Dodgson's 'instinct' prompted him to keep the
listener alert to changes in texture, maintaining a colourful orchestral sound by changing the
instrumentation from phrase to phrase. When in accompanying mode, the orchestral
sections almost always act separately: either the wind instruments accompany the guitar, or
the strings do. Dodgson was concerned that the double-reed sound of the oboe has 'some
affmity' with ponticello effects on the guitar, and so he substituted three clarinets for the
usual oboes, in order to achieve 'complete tonal contrast'. 17 Two horns play very simply
in the first concerto, acting as a 'tonal foil' .18 The one flute on the other hand, plays a more
prominent role, often acting as a duet partner with the guitar. Dodgson was much less
defensive in the instrumentation used for the second concerto.
By the time I came to write the second [guitar concerto] I felt I had gained sufficient
experience to risk all sorts of things 1'd never have dared to do earlier and I did them
with a certain confidence. 19
Whereas in the first concerto Dodgson replaced the oboes with clarinets, he includes two
oboes d'amore in the second (see Table 6.1, Appendix 1). Percussion was avoided entirely
in the first concerto, but in the second there are important contributions from glockenspiel,
marimba, and (at the very end) a small bongo. In the second concerto, Dodgson combines
one plucked tone with another, with the inclusion of a prominent part for the harp. The two
horns included in the first concerto to act as a 'tonal foil' are replaced in the second by ,
three trombones and as illustrated in Ex. 6.1, a passage of sustained, slow-moving ,
harmonies on the trombones, placed well below the register of the guitar, accompany the
16 Walker, In conversation with Stephen Dodgson, p. 20.
18 As described by Stephen Dodgson as a sleeve note on the 1968 record
19 Crowthers, Composers o/Today, p. 28.
132
guitar when it is playing harmonics:
Trombone 2 ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ _ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ _
PPP PP-=:':::" ====- PPP
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Trombone 3 t
- - - - - - - - - - ~ ---. ---
PPP
Ex. 6.1 Guitar Concerto No.2, 3rd movement, Stephen Dodgson, bars 73 - 77.
The concerto comprises a single span divided into five contrasting sections (see Table 6.2,
Appendix 1), and the trombones play a pivotal role in fusing the individual sections
together. The two principal sections framed within the Presto at the start of the concerto
and the second Presto with which it concludes, are the very rhythmical Allegro e robusto,
and the nocturnal Poco Lento. These sections are complete in themselves, with their own
internal proportions and symmetries, but the integrating feature which creates the sensation
that the concerto as a whole is something more unified than the mere linking of successive
movements could achieve, is a sequence of triads and dyads played by the trombones, which
is worked, thread-like, through the whole fabric of the concerto. The sequence appears in
simple form, at the end of the second section, the Meno Mosso quasi Cadenza. (See Ex.
6.2.)
pp
Ex. 6.2 Guitar Concerto No.2, 2nd movement, Stephen Dodgson. Trombones, bars 24 - 27.
133
It reappears much more significantly in the Poco Lento, at first in its simple form, and a
second time more rhythmically. Finally, as the work draws to a close in the final Presto,
the sequence takes on a new function: it is no longer presented as a smooth chain, but
appears ,in a fragmented form, and is employed as an ostinato, although motifs belonging
solely to the Presto sections remain just as active, despite this new presence.
The trombones also create what Dodgson describes as a "Moorish sound",20 by
means of fanfares of repeated notes, reinforced by rasgueados and parallel fourth chords in
the guitar. The first section of the concerto is based largely on the Phrygian mode (of which
Dodgson comments: ,-.... that I believe is a great Moorish mode;'),21 although other modes
are included in the mix, and notes 'mis-placed' by a semitone make the identity of a mode
uncertain. There is an example of this in the very first entry for the guitar, shown in Ex. 6.3,
which is essentially in C Phrygian, but with the third appearing in both major and minor
forms.
pocof r'
Ex. 6.3 Guitar Concerto No.2, 1st movement, Stephen Dodgson. Guitar, bars 26 - 29.
The descending motif comprising conjunct notes sets the pattern for the remainder of the
work. It can be seen from the following distribution tables that the motif dominates the
opening section, particularly at the start and finish, and that it is transformed between those
points by expansion or contraction of the tail of the figure, inversion, decoration by passing
note or turn, forming intervals from prime plus inversion, and extension or truncation.
These elements are considered in more detail following the semiotic analysis of the
opening section of the Concerto.
20 Lance Bosman, 'Stephen Dodgson' Guitar Magazine, (March 1983),17-21 (p.19).
21 Ibid
134
Feature List for Guitar Concerto No.2 (Opening section)
A Ascending
D Descending
R With repeated note
c Conjunct
d Disjunct
! M2 Comprising or including vertical interval of a major 2
nd
!4(N) Configuration of notes (some duplicated) comprising 4
th
s based on noteN
!4(Dis)(N) Configuration of notes comprising 4
lh
s based on note Nfrom which one note is displaced
NCd Chord or dyad held for N bars
NHn Note held for Nbars
I JTJ
12 n
13 .F.J.F.J
14
n}
Is .rm
16 ffJJl
17 fflJ J J
18 ~ J J J
19 .r J
J ~ F
110 J J J J
III
J J J J (.)
'-"
(rhythm 12 split into semiquavers)
(rhythm 12 post-extended with a quaver)
(rhythm I pre-extended with a quaver)
(rhythm I pre-extended with two semi quavers )
(rhythm I pre-extended with three semiquavers)
(rhythm I pre-extended with two quavers)
(p:re- and post-extended with crotchet extending over central quaver)
(rhythm I post-extended with a quaver)
(rhythm I post-extended with a tied crotchet or
dotted crotchet)
135
II m
Il2
IDJ (rhythm II post-extended with a quaver)
ll3
m J. (rhythm II post -extended with a dotted crotchet)
ll4
l' ITJ (rhythm II pre-extended with a quaver)
ll5
J m .r (rhythm II pre- and post-extended with a quaver)
ll6
.fJID (rhythm II pre-extended with a pair of semi quavers )
ill
JD
III2
JDr
(rhythm ill post-extended with a quaver)
ill3
JDft
(rhythm ill post-extended with a pair of semiquavers)
ill4 fflJD )
(rhythm m pre- and post-extended)
IV
J.
IV2
J . J .
(rhythm IV with the note, dyad or chord repeated)
IV3
J1J J.
"-'"
(rhythm IV with the chord repeated)
IV4
J.
r .
IV5
J.
71
IV6
J. 1-
v
JJJJJj
V2
JJJJJJJ.
(rhythm V post-extended with a dotted crotchet)
V3
fjJfjjjj
(rhythm V pre-extended with a pair of semiquavers)
V4
.F.jJJJJJJj
(rhythm V post-extended with a quaver)
V5
JffiJ
V6
fffffJ
V7
mmf
136
1 AdDdI
41
AdAdDdDdDdAdAd V3
2 DeDcI
42
DdDdDdAdAd V
3 DeDe II
43
1Hn V5
4 DeDe II
44 DeDdAdI9
5 De 12
45 AeAe II
6 DeDc II
46 AeAcI
7 DeDc II
47 DcDcI
8 Dc 12
48 DcDcAc III2
9 1CdIV 49 DcDcAc III2
10 DcDc II 50 DdDdDdDdV5
11 DcDc II 51 DdDdDdDdDd V6
12 DcDc14 52 DdAcAdDd II5
13 DcDcI 53 AcAc II
14 DeDc II 54 1Cd!4(Dis)(A II) IV
15 DdDd II 55 1Cd!4(E) IV
16 DcDdAdII2 56 1Cd!4(Dis)(AII) IV
17 DcDdIlI 57 DcDcAcAc II6
18 DdDc III 58 AcAcAc 13
19 DdAdI 59 AcAclli
20 DcDcI 60 DcAcI
21 AdDdAdlIO 61 14( G)AdDcDc II 0
22 AcDc II 62 DcDcAdII2
23 AcAc II 63 DeDcAc II2
24 DcDc III 64 DdDcII
25 AdDcI
65 !M2DdDdI
26 DdAd III 66 AcDcDc IIO
27 Dc 12 67 DdDcII
28 DeDcAcill2
68 AdDdAdlIO
29 AcAcDc II2
69 DdDcII
30 DdDdAc Il2
70 AdDdI
31 DcDc II
71 AdDdI
32 AcDcDeIlO
72 AdDdI
33 DcDe II
73 !4(F) IV
34 1CdIV
74 DdAdI
35 RRIV3
75 AdDdI
36 1CdIV
76 DdAdDdAdDd V
37 RRIV3
77 DdAdDdAdDd V
38 AdAdDdDdDdAdAd V3
78 DdAdDcill2
39 DdDdDdAdAd V
79 DdAdAdDcDc V
40 1HnIV
80 AdRI
137
81 RRI
121 DdDe12
82 AeDdAe III2
122 lCdN
83 AeAdAe III2
123
AdAdRDeDd 17
84 R1V2
124 DeDdAe 110
85 RN2
125 DdDc II
86 RRIII
126 DdDdI
87 DeDe 12
127 !4(G)RN2
88 DeDeI 128 lCd!4(G) N4
89 DeDe III 129 AeDdAeAe Ill3
90 AdDeDeDe 16 130 DeDeDeAeV5
91 DdDdI 131 DeDeDeAeAeAe V2
92 ! 4(F)DeDe 111 132 Dc 12
93 ! 4(F)AeDeAdDe 16 133 AdDdl
94 AdDeI 134 AdDdI
95 AdDeDell4 135 DdDdDdlll2
96 AdDeI 136 DdDdID
97 AdDel 137 Ad 12
98 DeAd I 138 DdDeDell3
99 AdDel 139 AeAeAeDdl8
100 DdAdl 140 AeDdI
101 lCdN5 141 AeDdAe llI2
102 AeAell
142 lCdIV6
103 AeAc II
143 AeAcAcAeDdAe llI4
104 RR12
144 1 Cd(part bar) N 6
105 !4(Dis)(.E)RR II 1
145 AeAeAcAcDdAcAeIll4
106 DdDd 14
146 DdDdDdDdDd V
107 DeDdAell2
147 DdDdDdDdDd V
108 DdDdII
148 DdDdDdDdDd V
109 RRIIl
149 DdDdDdDdDd V
110 AeAeAeAeAcAcAcDcV4
150 DdDdDdDdDd V
111 DcDcll
151 RRAcAcI8
112 DcDc II
152 AcAcI
113 AcAc III
153 DeDcI
114 DdDcI
154 DcDcI
115 AdDeI
155 DeDcI
116 DcDcI
156 DcDcI
117 DeDcAc 110
157 DeDcI
118 DdDdAdll2
119 DdDd II
120 RRI
138
Distribution
1
4
1
4
2
2
6
2
1
3
3
12
2
1
2
1
10
22
12
4
22
2 2
2 1
14
1
10
2
1 2
110
2
2 1
22
3 1
3 1 4
1 1
1 1 5
1
10
2 5
2 3 3
2
1 3 1
12
3
2
1
22
1 3
2
22
3
2
4
2
2
4
2
1
10
2 4
III
4
3
12
4 1
4
3
53 III
5 1
6
4
1
53
III
5
1
6
1
9
2
1
24
1
1
1 3
2
1
3
2
6 1
6 1
2
5
1
4
5
2
2
4
2
12
III
14
111
1
1
1
10
1
12
17
1
10
1
12
1
1
12
1
8
1
1
8
1
1
1
22
2
2
2 3
22
2
2
3
3
)Z
3
2
3
3
2
3
4
3
4
139
f
L Rhythmic figure I (superscripts indicate
1
variants defined in Feature List).
2.
Rhythmic figure II (superscripts indicate
54
3.
Rhythmic figure III (superscripts indicate
4.
Rhythmic figure IV (moment of statis, as
a note, dyad or chord is held or repeated).
5. Wave-like semiquavers.
6.
Passage of rapidly descending notes in
4
rhythmic figure V or one of its variants.
4
2
44
55
52
4
6
4
6
6
6
6
6
6
140
Dodgson takes the view that "exact interval, despite dodecaphonic theory, is not the prime
means by which we identify musical ideas" (see page 25). It is by altering the direction of
travel of notes forming motifs (ascending or descending, or combining the two),
manipulating the intervals between them, and shifting the placement of motifs through
stress-points within bars, that Dodgson gives the opening of Concerto for Guitar and
Chamber Orchestra No.2 its character. (The following notes should be read in conjunction
with the foregoing syntagmatic analysis, distribution table, and pages 220 - 230.)
1 & 2 The E contained in the opening augmented chord makes ambivalent what might
have subsequently developed into a Phrygian mode, and the E is reinforced at a
lower register when the motif comprising three notes, descending and conjunct,
makes its fITst appearance.
3 - 5 Through the simple expedient of doubling the speed of the fIrst two notes of the
motif, the constituent notes are made to align with different stress-points within the
bar, the motif's starting note corresponding with the fIrst, third, and fIfth quavers.
At 5 the motif is not allowed to reach its last note, but is interrupted by a
transposition of it a fourth higher.
6 - 9 The presence of E b introduces the Phrygian inflexion that was made uncertain
earlier. The motif has less time to settle before being moved a perfect fifth higher
so that it is an octave higher than it was originally.
10-12 Figures 6 - 8 are repeated, and as in the earlier passage, fall a semitone to G.
However the G is coupled with the pitch E rather than C, and the presence of a low
E suggests an E minor chord.
13-15 That suggestion is reinforced by the immediate appearance of a B, but then set aside
as the motif s intervals are reversed, to form a minor second followed by a major
second, and thereby introducing A # and G # . The intervals are expanded
dramatically at 15, to a major third and minor sixth.
16-18 A "Moorish" augmented second (see page 133) contracts the intervals only a little,
and means that the low D # heard at 15 takes the form of a leading note to E at 16,
when an extension of the motif takes a brief change of direction. A small-followed-
141
by-large interval at 17, becomes large-followed-by-small at 18, and the major
seventh connecting the two figures complements the impression of angularity
created by the differing intervals forming the motifs.
19-20 The intervals reach their widest point as a version of the motif takes on an
ambiguous guise. The top E acts as the third note of the motif, having taken a
radical change of direction (up and octave and a major sixth) and its accent and
position, a semitone above the following emphatic re-statement of the original motif
(at 20 - albeit an octave and a perfect fourth higher), means that it acts
simultaneously as a pre-extension of it.
21-24 The opening figure appears an octave and a perfect fifth higher, but to call it a
transposition would be misleading, because a quaver extension of it immediately
takes it on to a new track. The second version of the motif (two semi quavers
followed by a quaver) appears in conjunct form, but ascending rather than
descending (22 and 23). The note D at the end of23 has two guises: it forms the last
note of an ascending motif in the rhythm of feature two, and the first note of a
descending motif, which through rhythmic reversal, becomes rhythmic feature three.
25-29 Having reversed the rhythm, a motif in the rhythmic pattern and shape of the original
(but not replicating its exact intervals) leads to a figure that changes direction, before
a truncated, conjunct version of the opening motif (27) leads to an appearance of
conjunct versions of features three and two, both post-extended.
30-33 A disjunct appearance to feature two steps (by means of a quaver extension) a
semitone higher, to a conjunct version of it, which is a semitone higher than its first
appearance (at 3). A motif in the guise of rhythmic feature one is extended at 32 so
that figure 31 again appears on the last two quavers of the bar, to act as an anacrusis
onto figure 34.
34-37 There is a moment of stasis at this point as chords are held throughout the bars
(notwithstanding that the same chords are re-stated at 35 and 37). The pitches A and
D # are retained throughout, reinforcing the impression of motionlessness.
38-43 In spite of the fluidity of movement at this point, that impression persists because
of the retention of the pitches A and D #, the repetition of motifs, and because the
topography of the guitar is such that each of the notes at this point last beyond their
142
stated duration, until the point at which the same note is played again.
44-45 Large and small intervals are combined at 44 through the simultaneous approach to
the D # from the E a semitone above it, and from the C #, the highest note of the
second-inversion A major chord a minor seventy above. More large intervals lead
to a contrastingly conjunct appearance of rhythmic feature two, ascending.
46-49 The conjunct motion continues as figures 46 and 47 combine to form an arch. An
impression of hesitancy is created at 48 as a quaver extension takes one conjunct
step up, before re-appearing a tone lower at 49.
50-51 At this point the quaver extension moves up to the first note of a sweeping, disjunct
descent, quickening and widening at 51.
52-53 These figures provide a good example of interval contraction at the tail of a figure,
as the interval of a perfect fifth at 52 reduces to a major second at 53.
54-56 Figure 54 is an example of an interval fonning from prime plus inversion, as the G#
at the conclusion of 53 diverges to A # and F # at 54. These notes form part of an
inversion of a column of fourths built on A#. Three of the constituent pitches of
this column, A #, G # and D #, act as tendency notes to A and E at 55, returning as
the column re-forms at 56.
57-64 A series of sixteen conjunct notes from the C .Phrygian mode, lead to a loud re-
statement of the opening them transposed to highlight C as the highest pitch, at 61.
This is subject to the same rhythmic variation as the opening theme, before a quaver
extension at 62 leads to appearances of the motif with expanded intervals between
its first two notes.
65--73 Two minor thirds at 65 lead to an E q are contradicted quickly, at 66, with a series
of conjunct notes, until the re-appearance of an augmented second at 67. This is
followed by wide intervals centred on B q , and to series of minor thirds set against
a background of B q and an enharmonically-expressed B b, leading to a cadence
centred on B b at 73.
74-89 Tension between B q and B b continues as a series of thirds leads to a B q pedal, and
on to repeated appearances of A # at 80 - 83. The two pitches are combined at 84 -
85, before the shape of the original descending and conjunct motif leads to a B b at
143
89.
90-92 The main motif appears as minor second/major second at 90, and having briefly
expanded intervals, appears as major second/minor second at 92.
93 -101 Another interplay between two notes a semitone apart is created as D b and C
alternate as the frrst note of each motif from 93 to 97. At 98 the D b appears an
octave higher, enharmonically expressed as C #, which continues to exercise a tonal
pull to the pitch D, as a D minor chord is reached at 101.
102-105 Two consecutive appearances of the second feature lead to a repeated D,
underpinned at 105 by a chord also containing an E b and E q. The inclusion of pitch
A creates an -E-A-D column, in which maximum tension is generated by the
presence ofE b .
106-110 Features one and two alternate as the intervals become wide at 108 before reaching
a plateau on B q at 109. An appearance of feature five takes the B q an octave higher
as figure 110 concludes.
111-113 The B q becomes the central note of the motif at 111, which is contradicted quickly
as the symmetrical structure comprising 112-113 has a B b at each end. The note
G at the centre of that symmetrical structure has two guises: it forms the last
note of an descending motif in the rhythm of feature two, and the first note of a
ascending motif, which through rhythmic reversal, becomes rhythmic feature three
(cf 23-24).
114-122 The B b lowers a semitone at 114, and repeated uses of rhythmic feature one
combine it with its tritone, which is repeatedly contrasted with the B q. Feature two
at 118--119 sees a widening of intervals, which precipitates a clash between B q and
A # at 120, before reaching a combination of the chords G major (including a B q )
and D minor (implying a B b) at 122.
123-128 A D# is combined with an E minor chord at 123-124, leading to a moment of
stasis at 127-128.
129-131 The motifs are decorated by means of passing notes during these figures, as
rhythmic symmetry is achieved by figures 129 and 130.
144
132-138 Initially small intervals continua11y widen from 132 to 136, before contracting from
137, stepping only a semitone lower at the conclusion of 138.
139-144 Two successive appearances offeature one are made rhythmically ambivalent by
the inclusion of a dyad on the third quaver of 140, suggesting a role as the first
element of the following figure. Figure 141 leads to feature 4, i.e. stasis, and 143
and 144 reinforce the stasis by repeating 141 and 142 exactly.
145-157 Pre- and post-extension of feature 4 by passing notes at 145 leads to a series of
loud, descending sweeps, using widely-spaced intervals before a recapitulation of
the opening motif, an octave higher, is played five times, the latter four decorated
with an acciaccatura.
Similar devices are readily discernible in Dodgson's other works, including those
examined in depth here. Looking again at Section B of the solo guitar work Merlin reveals
the use of interval expansion/contraction of the tail of the figure. For instance the minor
second in 1 (A - G#) becomes a major 3
rd
in 2 (G# - E) (see page 205), a minor 6
th
at 10,
23,24 and 26, a major 6
th
at 22, and a perfect 4th early in Section B' at 70 (page 208).
In Section B of Merlin, a process of inversion is seen as C - E b (45) becomes B -
G # (46) (page 206). The same section has examples of decoration by passing notes or turn
- for instance figures 19 (passing note) and 20 (tum) (page 205). The section also contains
many examples of intervals fomring from prime plus inversion. E.g. 5 (E b - F) and 34 (C b
- Db) (see pages 205 - 206), and for an example of see Merlin Section
B', 74 (page 208).
145
CHAPTER 7
The guitar in ensemble
The guitar trio and the guitar duets
Bistorically, the guitar played in combination with other guitars has been seen as a rather
separate genre from the solo instrument. Such groupings carry educational and recreational
connotations, as a vehicle for social intercourse, without the overtones of idolatry associated
with solo virtuosi. However the outstanding guitar duos of the twentieth century comprised
guitarists each of whom was a virtuoso in her or his own right. The first to be established
as a truly international guitar duo, and still the most celebrated duo of the twentieth century,
was Ida Presti and Alexandre Lagoya, who from 1952 to 1967 gave over 2000 concerts all
over the world.
1
Both Presti and Lagoya had demonstrated prodigious talent as
Ida (1924 - 1967) having given a solo guitar recital in Paris when she was ten years old, and
Alexandre (b. 1929) making his concert debut at thirteen. They met in France in 1951,
married the folloWing year, and travelled the world, on an almost continuous concert tour.
Presti had made recordings of guitar solos for the French HMV company when she was
fourteen years old, which are still available as a re-issue, and which confirm the view of
Segovia's friend and biographer, John Duarte (1919 - 2004), that her technique was "awe-
inspiring", and that her "instrumental and musical talents were not less than Segovia's".2
However, Duarte reported that Segovia was not supportive of her in her capacity as a
soloist, that: "he withheld his help at a time when it would have been invaluable to her".
3
On the other hand, Segovia encouraged her duet partnership, and -in 1961 he arranged a
meeting between Presti and Lagoya and Castelnuovo-Tedesco, which led the Italian-
American composer to write a series of compositions for guitar duet.
4
The Presii-Lagoya partnership was brought to an abrupt end in 1967, when during
a tour of the USA and Canada, -Presti was taken ill in Rochester, New York, and died in
hospital following an internal haemorrhage resulting from cancer of the lung.
5
Presti and
Lagoya had established the guitar duo as a serious medium, and by the time of Ida Presti's
death, a number of guitar duos had begun to tread the path cleared for them through Presti
1 Colin Cooper, 'The Music: In The Studio' in The Classical Guitar: A Complete History, ed By John Morrish (London: Balafon Books, 1997),
p_ 115.
2 John W. Duarte, Andres Segovia As I Knew Him (Pacific: Mel Bay Publications Inc., 1998), pp. 57 & 82.
3 Ibid, p. 89.
4 Tom and Mary Anne Evans, Guitars (New York Paddington Press, 1977), p. 123.
5 AP. Sharpe, The Story afthe Spanish Guitar, 4th edn, (London: Clifford Essex, 1968), p. 51.
146
and Lagoya's international acceptance. The most prominent duo of the new generation was
Sergio and Eduardo Abreu, from Brazil. They too, became known internationally, and in
that sense the guitar duo mantel passed to the Abreu brothers. In each of the years 1972 and
1974 John Williams and Julian Bream made a long-playing record of guitar duets, and they
appeared together in the concert hall on an occasional basis. The number of guitar duos in
all parts of the world began to proliferate,
6
among the most notable of which was Sergio and
Odair Assad, who began their performing career in 1974,7 and who, in common with the
Abreu brothers, came from Brazil.
The number of larger groupings also increased. Guitar quartets, in particular,
realized that by using two standard guitars, a requinto (tuned a fourth higher than the
standard guitar), and a bass guitar (that is an acoustic bass,
tuned one octave lower than the standard instrument)
a five-octave range becomes available, between the extremes:
~ - !
(notes shown at actual pitch) which facilitates the transcription of a good deal of music from
the piano repertoire, and contributes to a greater breadth of sound in original compositions.
Members of guitar quartets often fonn duos and trios within their ranks. Celedonio
Romeros and his three sons Pepe, Angel and Celin, constitute the Spanish guitar quartet Los
Romeros, within which Pepe and Angel fonn a separate guitar duo. Similarly, in Britain,
half of the English Guitar Quartet (Richard Hand and Tom Dupre) form the Hand-Dupre
Guitar Duo, and the guitar quartet known as !cuatro! sheds either one or two members to
become a trio or a duo.
8
Dedicated trios are less common, not only because opportunities
for a greater range cannot be exploited without weakening the middle register, but also
because whilst a quartet can quickly become a trio, a trio cannot quickly become a quartet.
Works that include massed guitars
Extra-musical connotations are particularly apparent in the development of groups of
massed guitars (and fretted instruments en masse in general), the formation of which has
often been prompted by social or political considerations. In order to see these
developments in perspective, it is necessary to take a step back: chronologically,
geographically, and in part, even in terms of the instrument under consideration. Their roots
were in nineteenth-century Italy, when the focus was on the mandolin.
6 Tom and Mary Anne Evans, Guitars p_ 167_
7 Colin Cooper, The Classical Guitar: A Complete History p_ 114_
8 Felicity Rich (00.), British and International Music Yearbook, 24th edn (London: Rhinegold Publishing Limited, 1998), pp- 103 - 108_
147
In the years between the Vienna Settlement of1815 and the unification of Italy in
1861, the Italian peninsula was politically divided. The north was composed of several
small states, (some autonomous, others under Austrian rule), and the south comprised the
Kingdom of the Two Sicilies, ruled by a Spanish branch of the Bourbon dynasty. The
largest, wealthiest, and most modem city in Italy was Naples, capital of the Kingdom of the
Two Sicilies, and home of the mandolin (the first mandolins were designed in Naples by
the Vinaccia family in about 1744).9 When the Austrians were expelled from the north, and
the Bourbons from the south, there was an element of mutual resentment between the
inhabitants of each area, Neapolitans seeing unification as the annexation of Naples by the
envious north, and many northeners regarding the south as a backward, primitive region,
because whilst Naples was rich, the rural south had been deprived under the rule of the
Bourbons, vast amounts being spent on their capital city at the expense of the rest of their
subjects.
However the south did offer cultural continuity. The small states of the north had
frequently changed hands between various foreign rulers, each of whom had imposed
aspects of their own culture on to the people. The south, although now deprived of political
power, was regarded as the custodian of the authentic cultural heart of the nation, the
quintessentially Italian mandolin being one of its manifestations. Means were sought by
which the fledgeling nation could be united culturally as well as politically, and it fell to the
Princess Margherita of Savoy (1851 - 1926) to provide a symbol of the nation's identity.
Margherita married her cousin, the new king's son Umberto, in 1869, and the newly-wed
couple spent most of 1869 and 1870 in Naples, during which time Pasquale Vinaccia made
a mandolin especially for the princess. Pasquale had revolutionized the design and
construction of the mandolin in 1835, so the mandolin which he presented to Princess
Margherita was the mandolin as we know it today, and very different from the mandolins
constructed by his ancestors in 1744. Princess Margherita's interest in the mandolin kindled
an enthusiasm for it amongst the upper classes in both Naples and Rome, an enthusiasm that
quickly diffused throughout the country. Although the mandolin had hitherto been regarded
as an instrument suitable only for light-weight and small-scale music making, mandolin
players started to organize themselves into societies, or circoli (circles; clubs), and the
possibility of creating entire orchestras of mandolins and guitars now began to be explored
9 Paul Sparks, The Classical Mandolin (New York: Oxford University Press, 1995) p. 15.
148
for the fITst time.1O The Reale circolo mandolinisti Regina Margherita was founded in
Florence in March 1881 under the patronage of (now Queen) Margherita,[[ and Milan,
Rome and Naples all formed their own orchestras.
Italian mandolin and guitar virtuosi began to travel extensively, and the two elder
daughters of Queen Victoria, Princess Victoria and Princess Alice, were given mandolin
lessons by Federico Sacchi from Cremona, 12 and the Queen's two younger daughters,
Princess Louise and Princess Beatrice, were given guitar lessons by Madame Sidney Pratten
(formerly called Catherine Pelzer, 1821 - 1895). The place of the mandolin and guitar was
in genteel society. Madame Pratten was teacher to a 'a large percentage of our titled
ladies',13 and chief among her concerns was that the guitar should not become a plaything
of the masses:
... it was always Madame Pratten's desire to maintain the prestige of the guitar ...
she dreaded the idea of her instrument becoming in any way vulgarized, and insisted
upon it keeping its place exclusively in the gentlewoman's drawing room. 14
However, Madame I>ratten may have countenanced the formation of one of the first
Mandolin and guitar orchestras in London, because the Ladies' Mandolin and Guitar Band,
which was conducted by Ferdinando Cristofaro from Naples, consisted almost entirely of
aristocratic young women. The band regularly performed at prestigious venues such as the
Prince's Hall in Piccadilly, and the Queen's Hall in Langham Place.
15
In 1892 the Genoa Concourse - a trade and cultural exhibition, introduced inter-
national competition between mandolin-and-guitar bands, and subsequent competitions
were dominated by success of the Cremona circolo, founded in 1896, most of whose
seventy members were either from noble families or else were well-educated
professionals.
16
It was not only Britain and Italy in which mandolin-and-guitar orchestras
flourished. Elsewhere in Europe a similar picture emerges, as it does in countries that had
been colonized by Western powers, such as Algeria and Malaysia, and the first BMG
(banjo, mandolin and guitar) festival in South Africa took place in 1898.
17
In the USA, the
Musical Herald (Boston) reported in 1886 that the 'The mandolin is the rage at present
among fashionable young men and women in New York and elsewhere', 18 and Banjo World
(March 1894 p. 39) noted that 'shop-girls' in New York had started to carry mandolin cases
10 Sparks, The Classical Mandolin p. 29.
11 SamueJ Adelstein, Mandolin Memories: A Descriptive and Practical Treatise on the Mandolin and Kindred Instruments (San Francisco:
Published privately, [905), pp. 7 - 8.
13 Tom and Mary Anne Evans, Guitars p. 159.
14 Frank Mott Harrison, Reminiscences o/Madame Sidney Pratten, Guitariste and Composer (Boumemouth: Barnes & Mullins, [899), p. 71.
15 Report in Banjo World, London, April [898 p. 58. By this time under the direction ofLeopoldo Francia, who had taken over the Ladies'
Mandolin and Guitar Band on his arrival from 11aIy in 1894.
[6 Sparks, The Classical Mandolin p. 83.
149
in public, in order to give the impression that they occupied a more elevated position in
society. The banjo, too, had established a strong foothold in Britain and (especially) in the
USA, and socially, there was a strong link: between bicycle clubs and fretted instruments.
Both activities offered young people the opportunity to meet, and bicycle clubs usually
incorporated a banjo, mandolin and guitar club as a section within their memberships. 19
Increasing industrialisation led to a rise in the standard of living, and greater access to
education, an integral part of which was thought to include acquiring prowess with a
musical instrument. An increase in leisure time and improvements in public transport
meant that participation in communal music making ceased to be the preserve of the elite,
and immediately prior to the [rrst world war, there were two hundred mandolin-and-guitar
clubs in northern Germanyalone.
20
In Germany two distinct factions emerged. The Wandervogel grew out of the
Jugendmusikbewegung, itself an offshoot of the Jugendbewegung (Youth Movement,
created in 1897). Members of the Wandervogel took inspiration not from their parents'
generation, but from a nostalgic view of Germany's distant past. Their aim was to eschew
mechanisation and rediscover nature, expressed through the cultivation of German folk
music traditions. They shared the view that had been expressed by Nietzsche in his
Untimely Meditations: that 'German life had been damaged by materialism, economism and
historicism' .... 'Modem people seek to anchor themselves with possessions, technology,
science and the archives of history' (Untimely Meditation 1); and that 'Scientific progress
has undermined clear cut views of life .... at the same time, civilization is becoming ever
more complex and elaborate. Specialization and division of labour are on the rise [and] the
chains of events through which each individual is linked to the whole are getting longer and
longer and getting tangled in the process' (Untimely Meditation IV).21 Mandolin-and-guitar
orchestras which had grown up from the influence of a succession of Italian conductors -
the circoli - were ambivalent about the Wandervogel. On one hand this development was
welcomed, because it meant expansion, but on the other, the folk-inspired element was felt
to be an 'incursion by primitives' .22
The division is more starkly represented in Germany in the aftermath of the first
world war. The German Mandolin and Guitar Band (D.MG.B.) was founded in 1919, and
20 Konrad Wolki, History of the Mandolin, trans. Keith Harris (Arlington, Virginia: Plucked String, 1984 [as a translation of GeschichJe der
Mandoline,Berlin, 1939] p.18).
21 Rudiger Safranski, Nietzsche: A Philosophical Biography (London: Gnmta Books, 2002) pp. 85 - 99.
22 Konrad Wolki, History of the Mandolin, p. 18.
150
aimed to raise standards, gain academic recognition for the instruments, and foster relations
with foreign bands. The D.M G.B. was apolitical and its membership covered a wide social
spectrum, but many working class Germans felt that not only did the economic and social
fabric of their nation need to be re-built, but that its cultural identity had been too reliant on
fashionable, superficial influences, and a re-assessment of the country's cultural identity
was also necessary. The German Workers' Mandolin Band (D.A.MB.) was established in
1923, and favoured playing German folk-music as a means of raising the political
consciousness of the working class, with the aim of advancing socialism. The D.A.MB.
was strongly opposed to the D.M G.B., and in spite of its advocacy of traditional folk music,
was just as critical of the Wandervogel, which it considered to be indulging in nostalgic
escapism.23 (One wonders what Madame Sidney 1?ratten would have made of the D.A.MB.)
The extension of interest in the mandolin and guitar from high society to working-
class culture was mirrored in Denmark, where the Danish Social Democratic Youth (DSU,
founded in 1920) and the Danish Rambling Association (DRA, founded 1930) each had a
section devoted to fretted instrument orchestras. The DSU pursued a vehemently anti-
militaristic programme, even counselling its members against listening to brass bands,
because of perceived military associations.
24
At the same time, in all parts of the world,
amateur music making, and with it the use of the mandolin, had gone into decline amongst
urban middle classes. This trend was noted as early as 1913 by Clarence L. Partee, who
ascribed the decline to the invention of the motor car, the phonograph, and the player-piano,
the growth in the motion picture industry, and the increased popularity of outdoor sports
(BMG June 1913 pp 132 - 133). However the guitar was somewhat insulated from this
trend. The steel-string version of the instrument found a new role in jazz and dance bands
as tastes in commercial music changed, and interest in the classical guitar was maintained
almost single-handedly by public interest in the activities of Andres Segovia 25
The decline in the mandolin-and-guitar orchestra has been gradual, and remnants of
it continue to exist. The Luton Mandolin and Guitar Band (led by Philip Bone) was still
competing on the continent in the 1920s, and in France, there were four competitions in the
Paris region in 1936 alone (one of the most successful orchestras was Les Mandolinistes
Roannaises, a seventy five strong group, all female except for the conductor).26 In Japan
23 Sparks, The Classical Mandolin pp. 136 - 137.
24 lhid. p. 150.
25 John W. Duarte, Andres Segovia As I Knew Him passim.
26 Sparks. The Classical Mandolin pp. 157 & 148.
151
in 1980 there were 33 company orchestras with 5-79 members, and 72 groups in colleges and
universities with 3432 members?7 In the USA, the Italian community is less susceptible to
changes in fashion than the less insular general population, and some mandolin-and-guitar
orchestras continue to play from the same sheet music that their ancestors bought a century
earlier.
28
Elsewhere the balance has swung in favour of the guitar. BMG magazine, which
since 1903 had been the chief promoter of banjo, mandolin and guitar festivals in Britain,
(and in particular mando1in-and-guitar orchestras) produced its last edition in 1976, having
been displaced from the magazine shelves by publications devoted entirely to the guitar;
and whilst guitar lessons became widely available in schools, formal tuition in other fretted
instruments is almost unheard of. Gatherings of fretted instrument players have increasingly
become gatherings of guitarists, although the format has remained the same: a mix of
concerts, master classes, competitions, and large ensembles, or massed-guitar orchestras.
Since the latter part of the twentieth century, the aims of the gatherings has been to foster
inclusivity rather than to reinforce social exclusivity, although political considerations are
far from being a thing of the past. One of the fIrst and most prominent festivals devoted
entirely to the guitar was the International Guitar Festival held at Esztergom in Hungary,
which was introduced as a biennial event in 1973, and the aim of which was to provide a
meeting place for young guitarists from East and West.
29
It was supported by the Hungarian
and East German governments,in the interests of international relations, and has continued
to be held since the political demise of the soviet block. The festival hosts between 300 and
400 students, principally from those countries from which travel to the West was previously
difficult or impossible (such as Hungary, Poland, Czechoslovakia, Bulgaria, East Germany
and the USSR), although the total of those attending has always included a fairly large
proportion from the West.
In common with other guitar festivals, 'Esztergom' encourages the fonnation of
ensembles of all sizes, especially for 'end of course' concerts. However at the inception of
the festival, there was very little repertoire for large groups of guitars - no equivalent to the
transcriptions of orchestral works often played by mandolin and guitar orchestras (the
Cremona circolo, for instance, played transcriptions of Mozart symphonies and works by
27 JMU Review (the journal of the Japanese Mandolin Union) October 1980 pp- 2 - 12_
29 Colin Cooper 'The Esztergom International Guitar Festival 1989' Classical Guitar, (August 1990),22-24 (p_2.21.
152
Verdi, Donizetti, Rossini and Weber);30 nor ofHmdemifu's 'Gebrauchsmusik', such as his
Konzertmusik for large brass ensembles. 31 The absence of an established repertoire meant
that large guitar ensembles would often stage a semi-improvisatory work adapted to the
forces available, such as Terry Riley's In C (1964), which contains 53 simple fragments of
music rooted in the octave C, and produces a repetitive interaction of elementary melodic
phrases, under-pinned by a ceaseless intonation of a single C-note.
32
In 1980 Dodgson was commissioned by the organisers of the Esztergom Festival to
write a piece for a guitar ensemble comprising approximately 200 guitarists, which would
be played at the Festival held the following year. His response to the commission,
Personent Hodie, was to be the first of six works that Dodgson would write that include
massed guitars. Two more were written for an Esztergom Festival: .Hymnus de Sancto
Stephano, written for the folloWing gathering, held in 1983, and Intermezzo, written for the
1987 festival.
Dodgson's association with another guitar festival, held in Toronto, Canada, started
in 1978 when he was invited to sit as a judge in a competition for new guitar compositions.
The Toronto Guitar Festival is held every third year, and its organisers commissioned
bodgson to compose the test piece for the finalists in the solo performers' competition in
the festival that followed, in 1981 (Etude-Caprice, see Chapter 4). The University of
Toronto, which hosts the festival, has a large guitar ensemble, consisting of eighteen
players, who rehearse weekly and play to a very high standard.
33
In 1983 the ensemble
commissioned Dodgson to write Divertissement for Violin and Guitar Ensemble for a
performance at the next Toronto Guitar Festival, held in 1984.
Dodgson's fifth work that brings together large numbers of guitars was
commissioned on behalf of the Prussia Cove Seminar Ensemble in 1992, to celebrate the
occasion of the 10th Prussia Cove Guitar Seminar, with which Dodgson has also had a long
association. In 1984 he was invited to the Seminar to advise on the performance of his solo
guitar works; he re-visited the Seminar in 1985 to conduct a performance of Divertissement
for Violin and Guitar Ensemble, and returned in 1989, for a performance of Hymnus de
Sancto Stephano. Dodgson fulfilled the anniversary commission with The Selevan Story,
the basis for which is the legend of St Leven. His sixth and most recent work for massed
30 Sparks, The Classical Mandolin p. 83
31 Hindemith took the view that 'People who make music together cannot be enemies, at least while the music lasts'.
32 Norman Lebrecht, 20th Century Music, 2nd edn (London: Simon & Schuster, 2000), p. 309.
33 Stephen Dodgson, interview with John Mackenzie 10th August 2002.
153
guitars is Watersmeet, which was written for the National Youth Guitar Ensemble, who
performed it at the Bath International Guitar Festival in July 2002.
The provision of repertoire for massed guitars is an area in which Dodgson stands
out among composers of any nationality. The section relating to massed guitars contained
in The Guitarist's Repertoire Guide, a comprehensive catalogue that lists works for guitar
available from a cross-section of publishers, is dominated by transcriptions of Baroque
works, and light music, such as arrangements of works by Scott Joplin and Lennon and
. . 34
McCartney. It IS clear that Dodgson has been the most prolific composer of works for
massed guitars since the lack of suitable repertoire was highlighted at the inception of the
Esztergom Festival in 1973. Dodgson's output has been deemed appropriate by festival
organisers because, in common with his output of music for two, three and four guitars, it
is not 'guitar music' in the archetypal sense, but is well-wrought music that is played on
guitars.
The guitar in combination with other instruments
Just as it had been Julian Bream who first encouraged Stephen Dodgson to write for the
guitar as a solo instrument, it was he who prevailed upon Dodgson to write his first piece
for the guitar in combination with other instruments. During the early 1950s, Julian Bream
played frequently with a group called Musica da Camera, and in 1953 Bream asked
Dodgson to write a trio for three of its members, for flute, cello and guitar.
35
The idea of
a chamber trio that included the guitar was well-precedented. Many were written for the
pre-Torres guitar, especially by Italian guitar player-composers, such as Mauro Giuliani
(1781 - 1829), Filippo Gragnani (1767 - t812), Franceso Molino, (1768 - 1847), Nicolo
Paganini (1782 - 1840), and, particularly, F erdinando Carulli (1770 - 1841), who wrote nine
trios, six for flute violin and guitar, and three for violin, viola and guitar.
36
However, it is
a characteristic of those pieces that the guitar is not treated as an equal participant, but rather
is used to lay a foundation harmony in the role of accompanist. Dodgson wanted to create
a trio in which 'Each is a soloist, but all three together make a sonority of another
dimension' .37
The influence of Debussy
The unsuitability of the works of the Italian Classicists as a model for Dodgson
34 Andrew Liepins, The Guitarist's Repertoire Guide, 2nd edn (Nottingham: Spanish Guitar Centre, 1994), pp. 111-112.
36 Andrew Liepios, The Guitarist's RepertOire Guide, 2nd edn (Nottingham: Spanish Guitar Centre, 1994), pp. 145-147.
37 The Music Programme. BBC Radio 3 broadcast by Stephen Dodgson 23.1 1.66.
154
prompted him to turn to more modem compositions as a guide. He had recently begun to
appreciate Debussy. During his student days, he had regarded Debussy as too remote, too
exquisite. 'I was always after more muscular, beefier things' .38 He had become aware of
what he describes as 'the haunting gentle force' of Debussy's Sonata for Flute, Viola and
Harp, especially its 'Pastorale-' (the slow, :first movement). 'One of the most poignant
pieces of music 1 know'. The influence of Debussy's 'Pastorale' is readily apparent in
Dodgson's Pastoral Sonata, which was the result of Julian Bream's commission. Indeed
it was the slow, central movement of his Pastoral Sonata that Stephen Dodgson regarded
as the most success1Ul. He was less than satisfied with the outer movements however, and
in -1959 he revised them extensively, 'a rare thing for me to do, for 1 seldom find my second
thoughts much improvement of the fITst' .39 He was still not satisfied, and considered the
work 'withdrawn'.
In common with Dodgson's early solo guitar works, the texture of the guitar part in
Pastoral Sonata was rather dense, and as the American guitarist Richard Provost remarked,
it 'requires an experienced player who knows what to edit to make the part playable'.4O
Pastoral Sonata was to lay dormant until 1998 when the publishing company Cadenza
expressed an interest in publishing it. Dodgson realized that it ought not to be printed in
its existing form: as he looked at it again, with over thirty years' experience of guitar writing
behind him, he regarded it as 'primitive'. Very few adjustments were necessary in the flute
and cello parts, but the texture of the guitar part needed to be thinned out to a greater extent
than it had been in 1959. According to Dodgson, the opening texture was still dense to the
point that it was hardly playable, and some later sections, although more easily
accomplished, were nonetheless 'stodgy'. 41 He found the process of re-writing Pastoral
Sonata a strange but rewarding experience - he had become able to see quickly the parts of
the guitar writing which were susceptible to improvement, but he still strongly identified
with the musical thread, which encouraged him. "I thought, well, it hasn't all been in
vain" .42 Dodgson considered the two previous versions to have no further relevance, and
discarded the only known copies.
38 Transcription of a talk given at the British Institute of Recorded Sound, 30th January 1969_
39 Transcription of a talk given at the British Institute of Recorded Sound, 30th January 1969_
40 Richard Provost, 'The Guitar Music of Stephen Dodgson', SOUND BOARD, 6 No_ 1 (February 1975),3-5 (p- 3).
41 Letter from Stephen Dodgson to John Mackenzie, 17th October 2002.
42 Interview with John Mackenzie, 24th March 1999_
155
The use of the guitar in ensemble
As well as providing a means of expressing a recently-acquired enthusiasm, Dodgson's use
of bebussy's Sonata as a guide for his first work which coupled the guitar with other
instruments, with its harmonic, rhythmic and textural implications, helped to provide a
solution to a number of difficulties that often arise when the guitar is used in ensemble. The
principal difficulty is one which was considered in the discussion of guitar concertos _ the
simple issue of how the relatively small and delicate sound of the guitar is to be heard over
the sound of what can be much louder instruments, without keeping them in a pennanently
subdued state. The principal solution is also the same:
1. Allocating to each instrument, at least to some extent, its own harmonic identity;
2. Giving the instruments their own, distinctive rhythm;
j. Ensuring that the instruments do not occupy the same register simultaneously for
a protracted period.
Dodgson calls for a 'D tuning' scordatura to a greater extent in his chamber works than in
his works for solo guitar. As well as the 2
nd
and 3
rd
movements of Duo for Cello and
Guitar, it is employed throughout In Search of Folly for flute and guitar, Sonata for Three
for flute, viola and guitar, in the final movement of Dialogues for harpsichord and guitar,
and throughout Duo Concertante, Dodgson's first harpsichord and guitar duet, which is
considered in detail below.
Duo Concert ante depends on 'the wide colour-spectrum and rhythmic interplay of
the two instruments',43 and the application of the principles outlined above is apparent
wherever one looks in the score. In the example given below (Ex. 7.1), the guitar's low D
provides an anchor point - a point of reference for both instruments, as the registers are
exchanged between them, the guitar beginning the passage with its extremes pitched an
octave lower than the harpsichord, 44 and moving to a point at which the guitar is more than
an octave higher. As the transition is made, the two instruments are characterized by
rhythmic IncIsiveness in turn, creating accentuation throughout the passage. 45
43 Attnbuted to 'G. F. L.', 'Reviews of New Music', Musical Opinion, 96 (1972), 75-79 (p. 79).
44 Allowing for the octave transposition of the guitar.
45 Duo Concertante was decJaredjoint prize-winner in the Concours International de Guitare promoted by ORTF in Paris in 1970, although the
'D' tuning was not universaIly admired. The reviewer in Music and Letters commented later that 'the frequent low D eventually becomes
obsessive and tiresome'. (Attributed to'J. V. C:, 'Music Reviews: Guitar and Harpsichord', Music and Leners, 14 (1973) 247.)
156
J = 76
Guitar
r
Ex. 7.1 Duo Concertante, Stephen Dodgson, bars 329 - 332.
Duo Concert ante was commissioned by John Williams and Rafael Puyana. They played
in concerts together on two occasions in 1968, first at Dartington Summer School of Music
(where they were both giving master classes) and soon afterwards at a 'Summer Music'
event held at the South Bank in London.
46
In the course of their preparation for the
concerts, they approached Dodgson with the idea of a duet. He had reservations about the
viability of combining the guitar with the harpsichord. In fact:
I said I thought it was absolutely impossible. How on earth could we write for those
two instruments and hope not to be confused at all points? They were so persuasive
about it, that I t r i e ~ and I found [ .... J I started to "hear" it, though I had never heard
them play together.
47
Dodgson's reservations arose because of the similarity in the sounds of the guitar and
harpsichord.
Duo Concertante engages the instrument in a dramatic and quasi competitive discourse.
In one continuous movement this 15-minute work concentrates on honest argument
and discussion between guitar and keyboard [in which] neither instrument achieves
more than momentary supremacy.48
Lance Bosman, commenting on a recording of the piece in the magazine Guitar, found it:
ominous, [and] its instruments aggressive .... [the guitarist] seemed forced into
antagonism with the harpsichord.
49
However, Dodgson attributes this impression to recording techniques: 'Nearly all guitar
recordings, I think, are made too close' .50 His intention was 'a relentless tension, gradually
broadening out at the end into a grand agreement' .51 However, any 'competitiveness'
46 Taken from a sleeve note on a long-playing record which includes Duo Concertante issued on CBS 72948 in 1971.
47 WaIker,In Conversation with Stephen Dodgson, p. 19.
48 Attributed to 'J. V. C.', 'Music Reviews: Guitar and Harpsichord' ,Music and Letters, 14 (1973) 247.
49 Lance Bosman, 'Stephen Dodgson' Guitar Magazine, (March 1983), 17-21 (p. 19).
51 Bosman. 'StephenDodgson',p.19.
157
between the instruments was not conceived in the style of, say, a late 19
th
century concerto,
but rather 'a post-Monterverdian combattimento' .52
In each of the five single-movement chamber works that include the guitar, Dodgson
makes use of what he describes as forms - without readily-discemable boundaries,
and in particular the 'double-rondo' 'in which both of two features return alternately
in changing perspective' .53 Duo Concertante
54
takes the form: A, B, A', B', A", coda. In
which: A is a broad, dramatic dialogue marked Slow, Intense and Sustained; B is a
rhythmic, contrapuntal section (marked Lively) in which the two instruments seem to
struggle for their independence; A' comprises the main theme, shorter and considerably
varied; B' is another fast section (marked Very Lively) which features individual and
collective virtuosic displays. A" sees the return of the main theme, again shorter and
considerably varied; and the coda (marked Heavy and Deliberate) is relatively long and
cumulative, and is introduced by the theme played in unison on the guitar and harpsichord,
which leads to a powerful ending featuring a tremolando on the guitar. 55
A comparison of the data emerging from an analysis of the coda of Duo Concertante
(shown in detail post) with the data from the solo guitar work Merlin and the opening
section of Concerto for Guitar and Chamber Orchestra No.2, reveals a consistency of
approach and compositional technique. The influence of JaruiCek is clear in all three works:
"the shapes of his small but so intense motifs" (see page 25). Points of recognition are
provided by the overall shape of the motifs, as the cells formed from them are extended,
attenuated, or otherwise developed to generate impetus. The number of motivic types
(features) varies only slightly - from six to eight - and in the faster sections particularly,
there is a high proportion of motivic figures that are adjacent to a figure of the same type,
and often similar motivic figures that are not adjacent are separated by only one different
feature.
52 Letter from Stephen Dodgson to John Mackenzie written in August 2002.
53 Stephen Dodgson, interview with UlfMfiller, November 1982, (unpublished master's thesis, Institut MUnster, 1983), p. 101.
54 When Dodgson wrote his first piece for harpsichord, the Six Inventions, written at the instigation of the maker.Thomas ?otfand
the harpsichordist Stanislav HeUer, the harpsichord in common use was the heavy-framed, piano-influenced harpsichord., which bad plano-like
key dimensions and weight, and which used leather plectra, such as the Pleyel harpsichord In J.anuary 1968 Dodgson attended a concert gIven
by the harpsichordist Kenneth Gilbert in celebration of the tercentenary of the birth of Fran'tOls Coupenn at the Room, an event that
Dodgson describes as 'undoubtedly a turning point in harpsichord history'. Kenneth Gilbert played. a copy (by WillIam Dowd) of an 18th-
century harpsichord., with a shorter octave span, and shorter keys, which is conducive to a finger-only actIon - from the knuckle downward, which
is not poSSIble on the Pleye\-type instruments, with their deep, heavy action, strong weights the keys, and the weU-upbolstered
characteristics of the piano. When, in the spring of 1968, John Williams and Rafilel Puyana collllll1SSl0ned Duo the Kenneth Gilbert
concert had persuaded Dodgson that the reproduction harpsichords, from (usually) named mid-18th century ongmals produced the sonorous,
'singing' tone that thereafter he wanted always to associate with the instrument, and both Duo Concertan/e, and later Dialogues, were wntten With
the William Dowd reproduction harpsichord in mind
55 Loud, powerful endings are a fuature of Dodgson's chamber music which includes guitar. Seven out of the ten worts (all but Pastoral Sona/a.,
Duo for Cello and Guitar and In Search OfF oily) have one.
158
Merlin
Sections
A A' A" B
Number of bars
14 20 26 96
Number of feature 6 8 8 7
types
Appearances of 2 0 2 29
feature 1 (9%) (0%) (5.1%) (36.7%)
feature 2 (9%) (0%) (5.1%) (13.9%)
feature 3 (18.2%) (37%) (35.9%) (15.2%)
feature 4 (27.3%) (22.2%) (20.5%) (10.1%)
feature 5 (18.2%) (3.7%) (5.1%) (7.6%)
feature 6 (9.1%) (11.1 %) (7.7%) (13.9%)
feature 7 (0%) (11.1%) (2.6%) (2.5%)
feature 8 (0%) (7.4%) (7.7%) (0%)
Totals
221 271
39
2
79
Proportion of motivic
4/21 2/26 4/38
39/
types adjacent to the 78
same type
Expressed as a 19% 7.7% 10.5% 50%
, percentage
1 Includes two elements each of which appears only once in this group of sections.
2 Includes four elements each of which appears only once in this group of sections.
3 Includes one element that appears only once.
Concerto
Duo
No.2
Concert ante
B'
B"
259 34 159 49
8 6 6 7
30 3 69 40
(15.1%) (10.7%) (44.2%) (38.1%)
26 1 35 21
(13%) (3.6%) (22.4%) (20%)
87 16 18 10
(43.8%) (57.1%) (11.5%) (9.5%)
23 7 18 9
(11.6%) (25%) (11.5%) (8.6%)
13 0 9 7
(6.5%) (0%) (5.8%) (6.7%)
17 1 7 12
(8.5%) (3.6%) (4.5%) (11.4%)
0 0 N/A 5
(0%) (0%) (4.8%)
3 0 N/A N/A
(1.5%) (0%)
199 28 156 105
3
177/
198
19/
27
76/
105
40/
104
59.1% 70.4% 49% 38.5%
In the slow sections of Merlin (A, A' and A") the number of held chords (feature
4) remains approximately the same, but their prominence decreases in inverse proportion
with the length of the sections. There is a corresponding increase in the significance of
feature 3 as these sections develop, as it becomes their definitive and 'obsessive' feature
(see page 100, ante). Feature 6 in these slow sections comprises a dyad or triad descending
a semitone, which creates the impression of a reflective sigh. These are initially presented
as adjacent components (Section A, figures 13 and 14) but then start to separate ( 3 5 ~ 36 and
44 in Section A', and 55, 60 and 69 in Section A") to form what Dodgson describes as
"milestones" (see page 35). In the faster sections of Merlin (B, B' and B") the first feature
159
takes prominence in Section B, but whilst that feature declines in the subsequent fast
sections, feature 3 evolves into the prominent feature, and its even rhythm brings with it a
kind of relentlessness, especially as such a high proportion of similarly-defined features are
set adjacent to one another (nineteen out of a possible twenty-seven opportunities), or
70.4%) during the final B section (B").
Similarly in both the first section of Concerto for Guitar and Chamber Orchestra
No.2, and the coda of Duo Concertante, the first feature to appear remains prominent until
the end of the respective section (comprising 44.2% and 38.1% of appearances
respectively).
Another striking similarity is that each of the faster pieces - the B sections of Merlin,
and the portions of 'Concerto No.2' and Duo Concertante, contain moments of deliberate
stasis (the function of these stall-points was noted in respect of Merlin on page 102). It
comprises feature 6 in both the B sections of Merlin and Duo Concertante, and feature 4 in
respect of 'Concerto No.2', and takes the form either of whole-bar rests, or held chords.
Its frequency of use is very consistent (the low frequency noted in respect of Section B" of
Merlin can be seen as unrepresentative, as 34 bars comprises a small sample), and an
analogy is to be found with the stasis created by Dodgson's 'moving on the spot' rhythms
(see Ex. 2.25, page 41).
A
D
R
c
d
t4(N)
!4(Dis)(N)
HCd
I
12
13
14
15
16
17
18
II
II2
II3
II4
IV
IV2
IV3
IV4
v
VI
V12
VI3
VI4
VI5
160
Feature List for Duo Concertante (final bars 296 - 344)
Ascending
Descending
With repeated note
Conjunct
Disjunct
Configuration of notes (some duplicated) comprising 4
th
s based on note N
Configuration of notes comprising 4
th
s based on note N
from which one note is displaced
Held chord
n
n.r
} JJ
j n ___ p
JJn
in
.n
.r n l'
m
m.r
m J.
----
ITl)
Jffj
Jffjy
JffiJffi
yJffjJffj
n
J .
d
J J
J J
fd
(rhythm I post-extended with a quaver)
(rhythm I pre-extended with a quaver)
(rhythm I pre-extended with a quaver and tied over)
(rhythm I pre-extended with two semiquavers)
(rhythm I pre-extended with a tremolando
(rhythm I with the second quaver played tremolando)
(rhythm I pre- and post-extended with a quaver)
(rhythm II post-extended with a quaver)
(rhythm II post-extended with a tied dotted crotchet)
(rhythm II post-extended with a tied crotchet)
(rhythm IV post-extended with a quaver)
(two successive appearances or rhythm IV in a single run)
(rhythm IV3 pre-extended with a semi quaver)
(rhythm VI pre-extended with a crotchet)
(rhythm VI post -extended with a crotchet)
(rhythm VI pre-extended with a crotchet tremolando)
161
1 RRI3
55
AcDdli
2 DdAdII
56
AdDcDdIV
3 AdI
57 RV
4 AdI
58 RV
5 DdAdlll
59 RV
6 DcDc 12
60 RI
7 RRI3
61 RI
8 DdAcII
63 AcI
9 DdAd II
63 DdV
10 DdAdAcIV
64 DdAdli
11 DeAeAeIV
65 AdDdIII
12 DeAeAeIV
66 DdAdII
13 DeAeAeIV
67 AdDeDeDeDcDeDc IV3
14 DdV 68 AdDdIII
15 DdV 69 DdAdII
16 DeV
70 AdI
17 DeAcDdAe IV2 71 DdI
18 RDdl3 72 DdAdIII
19 Ddx 73 AdDdII
20 DeDe III 74 DdAdIII
21 DeAcAdlI2 75 AdDdAdIV
22 RRI3 76 AdDdAdlI2
23 RRII4 77 RRRI8
24 RRII4 78 RRI3
25 RRII4 79 DdAdIII
26 Del 80 AdDdII
27 AcI 81 DdAdIII
28 Ac 1 82 AdDdDdIV
29 Red VI 83 AdDdDdIV
30 RRI4 84 RI6
31 RRI3 85 AdI
32 DdAd II 86 RI7
33 AdI
87 Red ! 4(A) VI2
34 AdI
88 RRID
35 DdAdII
89 AcAcAeAcAcAcAcAcIV4
36 DcI
90 AcAcAcAcAcAcAcAcIV3
37 RI
91 AcAcAcAcAcAcAcAcIV3
38 RI
92 !4(A) VI
39 Red t4(Dis)(A) VI2
93 RRI3
40 Red t4(A) VI2
94 DdAdII
41 Red ! 4(A) VI3
95 AdI
42 AcAc RI5
96 DdAdII
43 DdAdli
97 AdI
44 AdI
98 RI
45 AdI
99
DdAdIII
46 DdAd II
100 AdI
47 AdI
101 DdAdII
48 R Dd''II
102 DdAdII
49 DdAdIII
103
[DcDcDcDcDcDcDc] x 3 (demisemiquavers)
50 DdAd II
104 R !4(A) VI4
51 AdI
105 R !4(A) VI4
52 RI
53 RI
54 RI
162
Distnbution
1
3
2 1
1
1
1
..,
1 .J
12 1 2
4 5
1
3
2
5
2 4
5
4
1
4
1
4 5
1
5
5
2 3
5
2
7
4
2
3
1
3
X
2
3
22 1 3
1
3
6*
2 3 4
6*
22
6*
1
8
1
e 3
2 3 4
6
4
14 1
6
1
3
2
1
C 6
1 2
6** 7
1
7
1
7
6
6
6
1
3
2
6
1 2
1
5
2
1
1 3
2
1 2
2 3
2
7*
2
6
6
1 Rhythmic figure I (superscripts indicate
~
Rhythmic figure V (superscripts indicate
variants defined in Feature List). variants defined in Feature List).
')
Rhythmic figure II (superscripts indicate
Q
(moment of statis, as a note, dyad or chord is
variants defined in Feature List). held or repeated). * = utilising rhythm II4. or **
"
1 Rhythmic figure III (superscripts indicate
rhythm 113.
Z
Succession of rising or falling semiquavers
1 Rhythmic figure IV (superscripts indicate (* = demisemiquavers).
~
Occurring only once, and therefore not regarded as
paradigmatic heading.
163
What made Janacek's rhythms seem "obsessive" as Dodgson describes them (see page 25)
is that a limited number of highly-recognisable rhythmic cells are concentrated together.
Similarly, Dodgson's use of rhythm (although each rhythmic element is sufficiently alike
those around it to be regarded as an adaptation of a previously-heard one) nestles together
a small number of rhythmic ideas, and often (almost half the time, as we have seen) puts the
same rhythmic patterns next to each other. (The following notes should be read in
conjunction with the foregoing syntagmatic analysis, distribution table, and pages 231 _
238.) Looking at Duo Concertante in a greater degree of detail:
1 & 2 Two rhythmic figures abut. The attention is focused on the rhythm as only two
pitches are involved.
3 - 5 The second of two similar rhythmic types introduces a third pitch, before producing
a mirror image, in rhythmical terms, of figure 2.
6 - '7 The clearly-stated D minor of the previous figure is made ambivalent when two
successive appearances of the original rhythmic figure contains the pitches G and
E (the E first introduced tentatively as a passing note).
8 - 13 The second rhythmic type makes two successive appearances, before the fourth
rhythmic type, comprising a combination of the second and third types, makes four
successive appearances. Striking out passing notes reveals the descending pitches,
F, E and D, but again, the presence also ofE and G at 11 rules out an unambiguous
D minor.
14-16 Three successive appearances of the fifth rhythmic type appear as conjunct,
widening to disjunct, and them returning to the original.
17-21 A succession of single appearances marks this section out, as rhythmic type four is
followed by the first element made emphatic by octave doubling, through an
anacrusis at 19, to the third and then second rhythmic types appearing in reverse
order (cf. 2 and 5).
22-25 A moment of stasis, as a repeated pitch A is followed by quickly repeated chords
containing the same pitch, as well as a C, at 23. The C combines with the note a
semitone lower at 24, and then rises a semitone at 25.
26-28 Re-statement of the opening rhythm, but with constituent notes having close,
conjunct intervals.
29 Another stall-point (a defirring characteristic offeature VI) with an inversion of a
column of fourths built on A. Both the previous and following figures include the
note D at the same pitch (c 22-25).
164
30-31 A succession of repeated As at first incorporate a major second, and then appears
over an unambiguous D minor chord.
32-35 Figure 31 is now seen, retrospectively, as a filled out version of figure 1, and this
passage continues to form a filled-out version of the opening, although with 35
appearing in the guise of rhythmic type two (cf. 5).
36-38 Figure 36 takes the melody and octave higher (c 6) before stalling on top D (37 and
38).
39-41 Thee successive stall-points, as another inversion of a column of fourths built on
A is intruded upon by an F #, before appearing as simple fifths.
42-44 The opening theme is reproduced bearing the shape, but not the exact intervals of
the opening.
45-46 At this point the perfect fifth (cf. 4) is stretched to a minor sixth to provide for the
semitone fall to A, to lead into a reverse-rhythm version of 5.
47-48 The perfect:fifth that was avoided at 4.5, is seen in altered form (cf. 4) underpinned
by Ds which suggest an inversion of G minor at 48 as B b and G appear.
49-.50 That suggestion is called into question quickly with the appearance of first an E b
and then the pitch C presented in the guise of rhythmic type three followed by two.
51-54 Three appearances of figure 1, made emphatic by D minor underpiru:llngs lead to the
suggestion of G minor using the same rhythmic type .
.55-57 Rhythmic types two and four are followed by a striking augmented chord
(underpinned by octave Ds) made more striking because this rhythmic type (the
fifth) has not been heard since figure 16.
58-62 Minor triads move in semitone shifts, smoothing out to rhythmic type one. The
upper note of.58 has been moved a tone rather than a semitone to create the minor
triad and the lower note in 62 moves a tone rather than a semitone to complete the
,
transition from augmented, to minor, to major.
63-69 The pitches F and D appear as rhythmic type five, and then alternately as types two
and three, before a succession of descendlng semiquavers allows the alternation of
rhythmic types to continue at the original pitch (c -2 and 5).
70-76 The tITst rhythmic type is used to straddle and them move in parallel from A to F,
whereafter the F and A are seen in various tonal and rhythmic guises, moving
through rhythmic types three, two, three, four, and back to type two.
165
77 -78 A repeated A created the impression of insistence in the extended rhythm of the
opening figure.
79-81 Figure 43 re-appears a perfect fifth higher, but is seen first as rhythmic type three,
then two and back to three, but with the inclusion of the pitch G making the tonal
intention ambivalent.
82-86 Two successive appearances of the smooth rhythmic type four lead to repeated
appearances of the pitch E, made emphatic not only by their repetition, but also by
the rasgueado approach at 84, and rasgueado shadow at 86. Again the inclusion of
additional, rising pitches, renders the tonal intention ambivalent.
87-88 A moment of stasis as the chord reached at 86 is held, and then followed by
appearances of the same note (1)) at all the pitches that the guitar is capable of.
89-92 Three successive appearances of feature seven are underpinned by at ftrst one note,
which is then added to by the note a perfect fourth below, which pitches are then
added to by the note a fourth below that, leading to a dyad from which the pitch G
is omitted.
93":96 A paired-down version of the opening appears a sixth lower, preserving the shapes
of the motifs, but not their exact intervals. At 95, what was onginally the interval
of a third reaches down to become a ~ allowing rhythmic ftgure two to adjust a
third lower than the original at 96.
97 -99 The opening rhythm appears a third higher than the original, leading to an
appearance of rhythmic type three (99) with the accompanying note in altered
relationship (c 5).
100 Figure 47 is presented a third higher, but with similar albeit displaced,
underpinnings, and the inclusion of a pitch ( C ) from that earlier appearance.
101-102 Rhythmic type two is used to shift a third lower to the original pitch (cf 2), but
now with the note D to complete a D minor chord.
103-105 An extended version of feature seven takes a D Aeolian mode through three
octaves, incorporating a brief recapitulation to ensure that the low D is reached on
the beat at -104, after which the piece ends with rhythmic type four, used to present
multiple pitches D and A.
166
Four of Dodgson's five most recent works in which the guitar is combined with
other instruments have an integrated single movement design, whereas four of his first five
guitar chamber works comprised discrete movements (see Table 7.4, Appendix 1). There
has been a corresponding tendency to brevity: the four longest guitar chamber works are the
first four. The flute is combined with the guitar on four occasions, more than any other
instrument; and the three appearances of the harpsichord places it second, in terms of the
frequency of its use. The only other common factors are integral to the musical language,
since the pieces were generated by the needs of those who commissioned them. They are
examples of what Hindemith called Gebrauchsmusik: music to fulfil a purpose - an
expression of the practicality that forms a central tenet of Stephen Dodgson's philosophy.
167
CHAPTER 8
Guitar and voice
Stephen Dodgson has written three works for voice and guitar, separated by wide intervals
of time.
1
They are: Four Poems of John Clare London Lyrics (1977) and Daphne
to Apollo (1997).
Four Poems of John Clare was written at the request of John Williams, who had
formed an occasional partnership with the tenor Wilfred Brown. The duo gave recitals
drawing from the existing repertoire, and supplemented with folk songs for which John
Williams devised guitar accompaniments. They were keen to extend their own repertoire,
and contribute to the repertoire of original music' generally available for the
medium.
2
That repertoire was severely limited. A large amount of original music for voice
and guitar was written in the first quarter of the nineteenth century, particularly by Italian
composers such as Ferdinando and most particularly, by Mauro Giuliani, who wrote
extensively for the medium.
3
In addition there were arrangements and transcriptions of
pieces for voice and guitar, such as the Brazilian folk songs arranged by Laurindo Almeida,
and Nineteenth-Century Songs in Contemporary Settings that are available in publications
edited by Robert Spencer. However the availability of original music intended for the
modem guitar was more restricted. Manuel de Falla and Joaquin Rodrigo, from Spain, and
Mario Castelnuovo Tedesco, originally from Italy, had each written songs which are
accompanied by the guitar; but there were few examples from North and only
three outstanding examples from Northern Europe, all of which were written for the tenor
Peter Pears and Julian Bream on guitar: Songs from the Chinese, a set of six songs written
by Benjamin Britten in 1957;4 Anon in Love, six songs by William Walton in 1959; and
Hans Werner Henze's Drei Fragmente nach Holderlin (1958), part of Kammermusikfor
Tenor, Guitar and Eight Instruments.
5
In fact, at the time of the commission, Dodgson had
heard none of these. He had only heard songs originally intended for voice and lute, in
which the lute part was played on the guitar.
6
I [n addition, he made an arrangement of Three Songs by Theordorakis for Maria Farandouri and Jolm
Theordorakis had indicated the harmony by means of chord symbols, which Dodgson used as the basis for the arrangement
3 Andrew Liepins, The Guitarist's Repertoire Guide, 2nd edn (Nottingham: Spanish Guitar Centre, 1994), pp. 113 - 118.
4 Benjamin Britten also made arrangements of six folk songs for Peter Pears and Julian Bream between 1956 and 1958.
5 Mark Morris, Twentieth Century Composers, (London: Methuen, 1996), p. 184. .
Kammermusik combines these three songs for tenor and guitar with three Tentos for solo guItar, three octet movements, and three movements
tor the full ensemble.
168
Commissions and the choice of poems
Each of the commissions for songs with guitar left the choice of words to and in
each case he turned to poetry written by an English or which dealt with subject matter
relating to an English location. In this he was guided by what he sees as the intimacy of the
medium, which he associates with an intimate component in English poetry, and in the
English voice (see Table 8, Appendix 1).
John Clare (1793 - 1864), four of whose poems were the subject of the first
collection, was a hedge-setter and day labourer from Helpstone, Northamptonshire.7 He had
two deeply-felt attachments: to Helpstone, the place, and to one of its inhabitants, his first
love, Mary Joyce. He had to part with both, and the resulting disturbance to his peace of
mind reinforced the sense of loss in his work, which is infused with sorrow for lost love
,
lost innocence, and the 'death of rural England'. In 1837 he was certified insane, and
admitted to an asylum in High Beach, Epping, from which he escaped in 1841, walking
'home' to Helpstone in the delusion that he would be reunited with both the place, and
Mary, to whom he thought himself married. He spent the rest of his life in Northampton
General Asylum, where he wrote the first two poems in Dodgson's setting, the second of
them being autobiographical.
8
It was Dodgson's sense of place that gave rise to London Lyrics - five songs
specifically about London, some of which reflect on the pain felt on leaving it, despite its
drawbacks. The authors of the five poems were diverse in background and style: Pierre
Motteux (1663 - 1718); Wilfred Owen (1893 - 1918); Arthur Clough (1819 - 1861); George
Rostrevor Hamilton (1888 - 1967); and Cecil Day-Lewis (1904 - 1972), whose common
link, that they were all from England, was incidental.
9
In the case of London Lyrics it was
the subject matter that determined the choice of poetry, rather than the identity of the
poems' authors. 10
The author of the poem Daphne to Apollo was Matthew Prior (1664 - 1721) who
occupied the opposite end of the social spectrum from John Clare. I 1 He was educated at
Westminster School and S1. John's College, Cambridge, and became a being
instrumental in negotiating the Treaty of Utrecht (popularly known as 'Matt's Peace') in
7 The Oxford Companion /0 English Literature, ed. by Margaret Drabble, 5th edn, (Oxford: Oxford University Press, 1985), pp. 201 - 202.
8 Richard Provost, 'The Guitar Music of Stephen Dodgson', SOUNDBOARD, 6 No.1 (February 1975), 3-5 (p. 3).
9 Although Motteux was born in Fmnce, and subsequently moved to England became anglicized, changing his Christian name to Peter, and
Cecil Day-Lewis was born in Ireland, his filmily settling in England the fullowmg year.
10 Stephen Dodgson, interview with John Mackenzie, 16th February 2003.
1 I The Oxford Companion to English Literature, ed. by Margaret Drabble, 5th edn, (Oxford: Oxford University Press, 1985), pp. 790 - 79l.
169
1713. A s a t i r i ~ he combines lightness of touch with mock seriousness, and Dodgson saw
scope in his poems for writing 'not just songs, but dramatic little cameos' . 12
Dodgson sees 'great possibilities' in the combination of the guitar and voice because:
Singers suddenly find themselves in a very intimate setting, and things could be done
vocally which they cannot do in a larger context' .13
You can [do those things] with a piano, but you do not have quite the scale of
intimacy as you do with the guitar .... The poetry is able to be more eloquent in this
medium, I think, than in almost any other ... .1 think too it is very suited to English
types of voices and the English tenor. There is something about the timbre of the
English singer that is very suited to it. 14
Dodgson particularly saw the ability to create a rapport with the listener in Wilfred Brown.
From 1950 Wilfred Brown (1921 - 1971) studied with Eric Greene, whom he subsequently
succeeded as the pre-eminent Evangelist in the Bach Passions. 15 He gave over five hundred
solo broadcasts for the BBC (the fIrst in April 1951), and sang with the Deller Consort.
16
He excelled in a wide range of repertory: lieder (particularly Schubert's) and French song,
Renaissance music and folksong, as well as larger works, and he gained wide critical
acclaim. What Dodgson saw in him was sensitivity: he had 'an intimate manner, and was
capable of great subtlety' .17
The commission for Daphne to Apollo, from the soprano Marie Vassiliou, and
Jeremy Brooker, was not for voice and guitar, but for voice and baryton. Even as he was
composing the original work, Dodgson realized that it would be relatively simple to write
an effective guitar version, and that it would be far more likely to attract performers than
the version for so uncommon an instrument as the baryton, and so soon after the first
performance, at the Esterhazy Palace during the International Haydn Festival, Dodgson re-
wrote the piece with the guitar accompanying the voice.
18
Therefore the version of Daphne
to Apollo for soprano and guitar is a rare example of a work written by Dodgson which was
not prompted by a request from a performer or performers. Another sense in which Daphne
to Apollo differs from the other songs with guitar is that it was not intended for a tenor voice
- Dodgson's favoured range for the combination. He considers the soprano voice less suited
12 Stephen Dodgson, interview with John Mackenzie, 8th Janwuy 2003.
13 Stephen Dodgson, interview with UlfMiiller, November 1982, (unpublished master's thesis, Institut MOnster, 1983), p. 93 - 94.
14 Timothy Walker, 'Stephen Dodgson in conversation with Timothy Walker' ,SOUNDBOARD, Winter (1991), 13-21 (p. 20).
15 Stephen Dodgson, in a letter to John Mackenzie, 6th March 2003.
16 David Scott, The New Grove Dictionary a/Music and MusiCians, ed. By Stanley Sadie, 20 vols (London: Macmillan Publishers Ltd., 1980) IIL
344 - 345.
17 Stephen Dodgson, interview with John Mackenzie, 8th January 2003. It is 'subtlety' to which Dodgson was referring when he spoke of 'things
that could be done vocally' in his conversations with U1fMiiUer and Tunothy Walker.
170
to combining with the guitar, although he acknowledges that 'that oUght not to be the case,
since their respective registers should offer more scope for contrast' . 19
Vocal characteristics
The vocal range is consistent across all three works. In both Daphne to Apollo and Four
Poems of John Clare the range embraces an octave and a major from middle C, and in
London Lyrics it comprises the compass one semitone lower: the octave and a diminished
7th from B to Ab.
Daphne to Apollo (soprano) Four Poems of John Clare (tenor)
London Lyrics (tenor)
" "

II
Written at the pitch indicated, and transposed one octave lower by the tenor voice
The words are given priority over the music, which acts as their servant. The music
clothes the words according to their place on a graph of emotional tension, without
constructing an edifice of melody and thereby assuming a dominating role: 'I think
everything arises from the words' .20 A good example is found in the first set of songs. The
Peasant Poet, John Clare's autobiographical poem, builds to a brief but powerful climax
when Clare declares that he senses the presence of God in every aspect of nature. The
climax is reached on the word 'God', which is set to the loudest note in the highest register
in the song, which is further stressed by its position in the rhythmic design (and underpinned
by a five-note chord on the guitar, capitalizing on the dramatic resonance provided by four
open strings). (See Ex. 8.1.)
Andante
mp
crescen 0
--
-
f
11. I I
,....
I
Voice .

I
"* V"
,
; ..
r
and ev' - ry thing his eyes survey'd, the ill - sects in the -

,..
* ..
... ..
* ..
.. I II _Ll
. . . . . . ..

-:;j.!
-
= ...
,"11 "11 "11
f"1l
Guitar
crescendo
19 Stephen Dodgson, interview with John Mackenzie, 8th January 2003_
20 Timothy Walker, 'Stephen Dodgson in conversation with Timothy Walker', SOUNDBOARD, Winter (1991), 13-21 (p_ 20)_
171
-=:::::::::= piu f
brake,
were crea - tures - God A1 _
migh - ty made,
he lov'd them for
1.
r--3,
piuf dim.
Ex. 8.1 The Peasant Poet, 2
nd
in a set of Four Poems of John Clare, Stephen Dodgson, bars 15 _ 18.
The ostinato in the guitar part shown in Ex. 9.1 and the arpeggiated vocal units
fonning a wave-like melodic line, suggest the influence of Benjamin Britten, and in
particular his setting of eight Thomas Hardy poems, Winter Words, written for tenor and
piano in 1953. Also in common with Britten's vocal writing, declamation and melisma are
used sparingly. A distinction is made between those parts of the text that are 'narrative' and
those that are 'lyrical'. The former type of passage tends towards declamation, and passages
containing words of greater emotive power are enhanced by means of melisma. The most
prominent example of declamation occurs in the opening address in Daphne to Apollo,
which centres around the notes C # and B b (see Ex. 8.2).
1\
-
"'"

( .J
-
..

-
.. ..
f::dJ
)
0 beaut - eous Turn - and deign to hear beaut- eous a -
)
V
##f-
-.
@)------ - - -,
,

@
It
I
f
;"-6

ltTT-6
Pespr
-=:::::::::::
moiw P
Pray'r'--f---- let
(harm)
(hannS)- -,
o @----,
Ex. 8.2 Daphne to Apollo, Stephen Dodgson, bars 16 - 27.
172
In o n ~ as Daphne to Apollo draws towards its conclusion, the significance of the word
'thousand' is emphasised by means of particularly angular melisma, as the syllable 'thou'
is spread over twenty-four changes of note (Ex. 8.3).
3
and may - I split in-to - a !boo - - - - - - - ____ _
- - sand trees, if
3
f
There is flexibility and contrast in the rhythmic design of the vocal lines, and obvious
repetition of rhythms are rare. Successions of equal note values also occur only
infrequently: they are used to reflect the simple nature of The Peasant Poet in the second
of Four Poems of John Clare, to form a foil for the rhythmic movement of the guitar in
From a Ship Tossing, and to combine with the rhythmic movement of the guitar to create
a more complex rhythm in Trotty Wagtail, as illustrated in Ex. 8.4.
1\
-
...-
-
>- >-
~
J;:
,.
11
100--'
>-
be flew a - way be - fore his rea - thers - they were dry
n
m
m
mW ---
_I
- - -
- - - -
--- --- --- ---
.
~
,.
.. ..
,.
0 0
- j
I
r
i
Ex. 8.4 Trotty Wagtail, 1
st
in a set of Four Poems of John Clare, Stephen Dodgson, bars 22 - 24.
The developing characteristics of the guitar writing
Thirteen years after Four Poems of John Clare was written, Dodgson remarked that he
regarded it as the first of his guitar works to be idiomatic for the instrument.
21
No doubt he
was comparing his flISt set of songs with his first solo guitar works, written for Julian
Bream, which he subsequently 'withdrew' because he was dissatisfied with them, mainly
because of their thickness of texture. However, when Four Poems of John Clare is
21 Richard Provost, <The Guitar Music of Stephen Dodgson', SOUNDBOARD, 6 No.1 (February 1975), 3-5 (p. 3).
173
compared with London Lyrics, written fifteen years later, it is quickly apparent that
Dodgson's capacity to write idiomatically for the instrument had continued to develop in
the intervening period.
The guitar part in Four Poems of John Clare has a great deal of independence, and
could almost stand as a solo guitar piece, whereas London Lyrics is concerned, to a far
greater extent, with combining the two perfonners to create a range of 'atmospheres', an
example of which is shown in Ex. 8.5.
In turbulent motion together
.A :::>--
:::>--
:::>- :::>-
.Ll
~
f (marc
I
This squal
ly
jvvild Nor'
- wes - ter
o@)G) o @) c
~
-
- ~ ~
r-..
-
r--
.6l
~
..LCJ:
'..tL
,;
::>- I'

"
..
"

p - fsempre
Ex. 8.5 From a Ship Tossing, 3rd in a set of five London Lyrics, Stephen Dodgson, bars 76 _ 80.
The extract shown above also includes one of many examples, in London Lyrics, of the use
of campanella technique, in which chords are created from arpeggios, the constituent notes
of which are played on different strings and therefore allowed to merge into one sound.
Another example is contained in one of a number of extended passages in which the guitar
is heard alone. The passage illustrated in Ex. 8.6a below, which is from From a Ship
Tossing, may appear unifonn in texture on paper, but the use of campanella is contrasted
with the use of a single string to create a dramatic swing from a rich, bell-like resonance,
to a thin, dry texture.
@ 0 @ 0 0 @ 0 --' ~ @ ~ ,
,g '/ a E E r lEft E E r I E [1 r pc lEg- r fI I
diminuendo
Ex. 8.6a From a Ship Tossing, 3rd in a set of five London Lyrics, Stephen Dodgson, bars 58 - 61.
5 6- 6 - 8 f 6 6:: 8 r
o
8 6 7 7 5 6
Ex. 8.6b The practical result when ex. 8.2a is played as directed.
174
Campanella is used throughout Shadwell Stair to create sonorous dissonance, (see Ex. 8.7)
which reinforces the shadowy nature of the song ('I am the ghost of Shadwell Stair / Along
the wharves by the water house / and by the dripping slaughter house').
j =66
Ed
-u sonoro
Nif
Ex. 8.7 Shadwell Stair, 2
nd
in a set of five London Lyrics, Stephen Dodgson, bar 14.
This comprehensive understanding of the guitar is also evident in Daphne to Apollo, for
example when a declamatory campanella passage is made to contrast with the sonority of
a passage played apoyando with the thumb near the centre of the fifth string (see Ex. 8.8).
Such demonstrations of understanding are not so prevalent in Four Poems of John Clare.
Indeed, as the set approaches its final climax, it calls for an awkward disposition of the right
hand, which it is difficult to imagine the more experienced Stephen Dodgson resorting to
(Ex. 8.9).
1 J I .J I J
,F=r:J=;::::;J=J =l I J
___ J.:..
- L'.
J J ]

I
" _.
I
" "

cresco
r
Ex. 8.9 The Fox, 4th in a set of Four Poems of John Clare, Stephen Dodgson, bars 57 - 58.
There are other demonstrations of an increased knowledge of the guitar's
characteristics and capabilities, principally concerned with a progressively reducing
thickness of line. More subtly however, a greater degree of idiomatic awareness manifests
itself in the use of campanella, not only in the type of consistent use shown in the foregoing
examples, but also at an incidental level, allowing the sustaining properties of the guitar to
175
facilitate smooth transitions between one hand position and another, and for that matter,
between guitar and voice, through a momentary application of it.
Common Factors
On the other hand there is evidence of artistic consistency in relation to a number of factors
in addition to the way that the words of the songs form the music: the use of recognisable
rhythmic figures, an informed use of harmonics, and a common harmonic basis.
In the first of the Four Poems of John Clare, Trotty Wagtail, the light, quick
movements of the wagtail, followed by its characteristic moment of stillness, are
represented by the guitar, and the sounds it makes are represented by the voice (see
examples 8.10 & 8.11).
J = 120
Lit - tie Trot - ty, Trot - ty Wag - tail, he went in the rain ___ _
st
1\
-
.L
@,l
.. ~ ~ . - ! '
~ ~
11' - ~
and chir- rupt, chir - rupt chir - rupt, chir - rupt
I ~ J
#J ...
l.J-- J ~ l
J ~ J ~ l
~ ~
,;
--:
11
r
~
Ex. 8.11 Trotty Wagtail, pt in a set of Four Poems of John Clare, Stephen Dodgson, bars 39 - 40.
Typically of all the songs, the guitar motif goes on to permeate Trotty Wagtail, stamping its
identity as a recognisable rhythmic figure, but changing its constituent notes to suggest a
succession of different harmonies.
Each of the works, from the earliest to the latest, show an understanding for how a
delicate interchange can be created between guitar and voice by the use of harmonics. and
also of the usefulness of harmonics as a technical aid. Examples 8.12 and 8.13 show
Dodgson's instinct for how a song can be 'floated' on a background of harmonics.
176
1'1. I
~
T
I I I
He lov'd the brook's soft sound the
0
~ ~
0
; ~ t # ~
0
1'1. I
0
~ ~ ~ I
,;
Ex. 8.12 The Peasant Poet, 2
nd
J
,3,
~ 3 ~
~
I 1
I walk till the stars of Lon - don.vane-
o 0 ~
000
0
hann:
It1Jl
J
j
@
bJ
bJ
J
0
j
0
@
0
1\ 0 I
- --- -
~ : ;
.
,;
- -
i
- - - - -
0
.
---
...-...
.-
r r i i r---
Ex. 8.13 Shadwell Stair, 2
nd
in a set of five London Lyrics, Stephen Dodgson, bars 39 - 42.
In Daphne to Apollo, harmonics are combined with notes that are played nOImally, in order
that three sounds intermingle: the sound of the voice, the conventional sound of the guitar,
and bell-like harmonics (Ex. 8.14).
=
J
)
~
I
;:
.. .. .. ..
Pray'r
let
who thee as thou
(hanns) ---------,
)
(hann)
0 0- - - - - - - - - - - -,
I
o ~
1\ I
0
-
0
I
Tf
---I
I
t
I
f!'
=
~ 6

More prosaically, hannonics are used on a very practical level when their location and
sustaining qualities provide a means of scaling the fingerboard to reach an impending top
A, in Trotty Wagtail, the very first song that Dodgson wrote for guitar (see Ex. 8.15
overleaf).
177
f -
sub ito r
r
r
st
in a set of Four Poems of John Clare, Stephen Dodgson, guitar, bars 23 - 24.
Although there has been a progressive thinning of texture in the guitar writing in
Dodgson's songs, the shifting modulatory process, in which each chord contains a new
contradiction, has provided the harmonic basis throughout, as has, conversely, the
occasional use of static harmonic units. Here again, the influence of Benjamin Britten is
suggested, although Britten's At day-close in November, the first song in the Winter Words
cycle, has a tonal flexibility, and a resultant tonal complexity, of a kind that is unusual in
Britten,22 but is much more typical of Dodgson. Britten's setting of Wagtail and Baby, as
well as sharing an element of subject matter with Dodgson's setting of John Clare's poem
Trotty Wagtail, shares its basis in co-existing strands of harmony, and the static harmonies
of the type seen in Ex. 8.1, and a complete absence of extraneous textural detail, are other
characteristics shared by both sets of songs.
Another consistent feature across the Dodgson songs is the use of quartal structures.
It is most immediately apparent when it manifests itself in block chords, as in example 8.16
below, in which there are two inversions ofa column of fourths built on G (G-C-F-B b-Eb-
A b ), the second with the A b removed and the C doubled.
Ex. 8.16 Turkeys, 3rd in a set of Four Poems of John Clare, Stephen Dodgson, guitar, bars 26 - 27.
In London is a Milder Curse, the column itself moves a 5
th
(i.e. an inverted 4th) from G-C-F-
B b with the F doubled, to C-F-B b -E b -A b with the E b doubled (Ex .8.17).
22 Peter Evans, The Music a/Benjamin Britten, (London: JM Dent & Sons Lte., 1979), p. 357.
178
.I = 144
=
Ex. 8.17 London is a Milder Curse, 1
st
in a set of five London Lyrics, Stephen Dodgson, guitar, bars 13 - 14.
The columns are not always 'vertical', but also appear in arpeggiated form, as it does in
example 8.18 below, which shows an inversion ofa column offourths built on G, with the
Eb doubled.
~
~
~
,
1= .. I .. -.
~
f
1r
~ - - - - - - - I 3 - - - - - - __
Ex. 8.18 River Music (1967), 5
th
in a set offive London Lyrics, Stephen Dodgson, guitar, bar 75.
Daphne to Apollo contains only six 6-note chords, all of which are based on the perfect 4th.
F or instance a column of fourths built on G, with C doubled at the lower octave, is
approached by two of its constituent pitches, albeit in different registers (Ex. 8.19).
Ex. 8.19 Daphne to Apollo, Stephen Dodgson, guitar, bar 128.
One of the six chords appears twice, and consists of a doubled perfect 4th, E b-Ab, which
has a D above and below, fonning a tritone between the A b and the D, and the
characteristic octave plus a semitone, and octave minus a semitone, between the lower two
notes and the high D and E b respectively (Ex. 8.20).
fll
f
Q
J
J
IJ
t'
*
cresco
ifz
Ex. 8.20 Daphne to Apollo, Stephen Dodgson, guitar, bars 108 - 109.
179
Another six-note chord combines a D minor chord with the minor chord a perfect fourth
higher (Ex. 8.21).
-
Ex. 8.21 Daphne to Apollo, Stephen Dodgson, guitar, bar 31.
The transition from baryton to guitar
The baryton, for which Daphne to Apollo was originally written, exists in three forms:
Baroque, Classical and revivaL 23 Each of the forms is essentially a bass string instrument
which is fitted with two banks of strings known as manuals. The upper manual is bowed
from above in the conventional way, whilst the lower manual, comprising a greater number
of sympathetic strings, is plucked from behind with the left-hand thumb, thus providing the
instrument with a capability for self-accompaniment, although in practice the upper and
lower manuals are usually played in alternation, signalling different roles in musical texture.
The Classical baryton is a modification of the earlier instrument, and is associated with
Price Nicolaus Esterhazy (1714 - 1790), and Joseph Haydn (1732 - 1809) who composed
a large number of works for the prince to play on the baryton during the 1760s and 1770s.
The prince's baryton had seven strings forming the upper manual, tuned in the same way
as a bass viol, and ten forming the lower, although barytons fitted with a widely differing
number of strings were made throughout the period. The revival baryton is essentially a
reproduction of the Classical instrument, normally with six strings forming the upper
manual and fourteen forming the lower. The baryton for which Daphne to Apollo was
written is a Classical baryton with a lower manual of sixteen strings, which thereby provides
an extended range.
24
Lower manual
'1: ~ () ofo ( ) ~ ( )
Z 0 oOJo
()
~ .0. Upper manual
I oe-e-
o 0 II
o
o
()
()
23 Julie Anne Sadie and Terence M Pamplin, The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, 2nd edn, 24 vols (London:
Macmillan Publishers Ltd., 200l).1I, 828 - 831.
24 Jeremy Brooker, interview with John Mackenzie, 9th March 2003.
180
Bowed notes, produced on the upper manual of the b a r y t o ~ are capable of
sustaining an initial volume, and even increasing it, whereas notes produced on the guitar
are inevitably subject to an irretrievable reduction in volume. However the guitar
compensates with a greater degree of agility and dynamic flexibility. Dodgson found the
guitar more conducive to aiding the dramatic effects, such as the passage in which 'Dapbne
puts Apollo in his place',25 and the:final four bars (reproduced in examples 8.22 and 8.23
below) during which the guitar version utilizes the following characteristics: its agility, to
produce a line which is much more angular than the equivalent baryton line, the brittle and
penetrating effect of the treble strings at their shortest length, its ability to produce a rasping
appassionata chord, and the nimbleness necessary to bring the piece to a conclusion with
a semi quaver ending over the residual resonance from open strings.
:
than- these---+--------+-------t--
+ + + +
--===== moltof mp
=
appass: marc + +
the + sign shown in the last bar of the baryton part
indicates notes to be plucked with the left hand thumb
Ex. 8.22 Daphne to Apollo, for soprano and baryton, Stephen Dodgson, final fOUT bars.
than_ these---+------t-------r-
L-3
p::::::
5
i -.:::: -====
_____ Precipitato
appass: marc
Ex. 8.23 Daphne to Apollo, for soprano and guitar, Stephen Dodgson, final four bars.
25 Stephen Dodgson., interview with John Mackenzie, 8th January 2003.
181
The two guitarists who have had the greatest influence on the work of Stephen
Dodgson have been Julian Bream and John Williams, and it was they who were to be the
catalyst for some of the most notable songs written for voice and guitar in the twentieth
century. Bream's partnership with Peter Pears brought about the collections written by
B r i t t e ~ Walton and Henze; and it was Williams' partnership with Wilfred Brown that first
prompted Dodgson to write for the medium. Dodgson was attracted by Williams' unfailing
reliability and precision, and the intimacy and sensitivity of Wilfred Brown's singing.
The qualities that Dodgson saw in Wilfred Brown meant that there had to be a
complete lack of pretentiousness in the subject matter. By setting the John Clare poems,
he utilized the association of intimacy with humour. Descriptions of the behaviour of
animals found in the village, or the farm, and phrases such as 'makes a huzzing noise,
nauntles at passers by' (referring to the actions of a turkey), ensures that the songs have a
common currency: a modesty and absence of exclusivity. That 'divertimento' spirit is
maintained in the songs that followed, on the subjects of the pains and pleasures of London
life, and Daphne's rebuke to Apollo. A singer who is accompanied by a guitar can feel
somewhat exposed: the guitar cannot lay a reverberant foundation on which the singer can
'float' the words in the way that a piano can, and the conspiratorial sharing of a joke
between singer and listeners can relieve the sense of exposure that might otherwise result.
The subservience of the music to the words in Dodgson's song-settings puts the composer
still further into the shade, but the ostensibly lightweight approach reflects a depth of
understanding of the medium, which has been apparent from the :first set of songs, rather
than any absence of such an understanding.
182
CHAPTER 9
Summary and conclusions
Roy Brewer observed that the guitar is an instrument searching for an identity. In fact the
guitar has multiple identities, corresponding with the many musical styles it accommodates,
but it was his argument that it is striving for an identity beyond that: a single identity as a
serious instrument.
1
It is a pre-requisite to the assumption of that single identity, that the
guitar must have credibility, and the guitar is made credible by its ability to act as a medium
for art music without being infused with characteristics that separate it from the
mainstream; and, in by the credibility of the composers by whom that music is written.
Stephen Dodgson's background as a music commentator, journalist, teacher, and composer
of works for a diverse range of instrumental combinations and media, including films and
radio plays, touches and draws from a wide and embracing exposure to the world of music,
and gives distinction and credibility to the whole of his output.
There is an element of utilitarianism in Dodgson's approach to composition. He 'strives
what he is asked to write, matching the composition as closely as he can to the musicians
and the occasion'.2 Thus he directs his attention outwards to the ultimate purpose of his
work, its contribution to society's culture, and its significance for the listener. In this sense
the content of his music is in no way a vehicle for self-expression; but neither is it merely
an entertainment or a diversion: lying behind the music is a corporate ideal rather than the
will for a personal testament. The unifying thread connecting all his music is a spiritual
one, founded in the humble belief that man is not self-contained, but part of something
beyond himself, and so his approach presupposes a source of material external to the
composer. His music is not sensual and indulgent, but neither is it hard or mechanical.
However, the manner of the writing does have personality, and his music has a human
quality that derives from his belief in universality.
Although influences are acknowledged: Janacek and Debussy in particular, but also many
others, such as Stravinsky, Britten and Tippett, he has drawn inspiration from
an active tradition rather than subscribing to any system or attaching himself to any
particular group, and nor has he set out to be a trend-setter. Perhaps the greatest influence
has been the teaching of R.O. Morris and the writings of Thomas Morley, although
Dodgson is unmistakably a composer of his time: he has not opted out of interpreting the
1 Roy Brewer, A Guitarist's Notebook, (Oxford: Oxfurd University Press, 1986), passim.
2 Stephen Dodgson, in a programme note for a concert given on 19th March 1973.
183
present in favour of delving into the past. His music springs from the accretion of ideas that
associate themselves with an initial musical thought, and thus become integrated into his
whole train of thinking. He has avoided the limiting, anecdotal associations of region and
nation (there are only slight and superficial affinities with the pastoralism of V
3u
ghan-
Williams and his followers), and he achieves an equilibrium between classicising and
modernising impulses with a capacity for self scrutiny without self -obsessiveness.
The contribution his music has made to the establishment of an identity for the guitar as
a serious instrument is, paradoxically, rooted in his status as a non-guitarist, and one who
is not affiliated with any particular label that might skew his work in one direction or
another. Dodgson writes distinctively for the guitar, but the guitar is not used as a mould
into which 'Dodgson music' is poured. It is music that weaves a thread - elaborates an
argument, however tenuously - played on the guitar, rather than 'guitar music', designed for
the demonstration of technical prowess or of the guitar's capabilities. Guitarists strive to
get the most out of their instrument, to exploit it to maximum effect. The guitar will rasp,
but Dodgson seldom makes it rasp; it will provide a shower of notes over a sustained
period, but he does not utilize that ability; it will produce a light, sweet tone from the upper
strings, and rich sonority from the lower strings, but such considerations of timbre are
incidental to Dodgson's writing, rather than a driving force behind it. His writing is made
more credible by his abstinence from making the guitar do any of the things it does best,
because one of the reasons that the guitar has tended to inhabit a rather separate world from
the mainstream of music is that guitarists have called on it to repeatedly perform its best
tricks. This abstinence does not mean that the guitar is kept in a permanently subdued state;
it means that it is acting as a servant of music, and accordingly it takes on that identity: it
is or can be a servant of music rather than an advocate of its own qualities. , ,
His work has contributed to the integration of the guitar into the ambit of serious music
through his solo pieces, his didactic material, those ofhis concertos that include the guitar,
his works for two, three and four guitars, and for massed guitars, his chamber works that
include the guitar, and his works that combine the guitar with the voice.
His contribution to the solo guitar repertoire of a substantial body of works: twelve
concert pieces and four smaller works, has not been accompanied by anything new in
respect of progressive techniques or innovations, but playing Dodgson's solos tends to
change the perspective of guitarists' thinking. The priority given to horizontal
considerations over vertical progressions causes the guitarist to take a melodic perspective,
184
and to re-define the guitar as a melodic instrument. Equally, the predominance of quartal
structures sets aside the domination of the 6/
3
minor chords and the 6/
4
major chords which
lie across the @ @ CD strings and the @ @ @ strings respectively, and which, if they are
allowed to, become a dictator of events.
Most of the solo works are serious and substantial, and challenging to the perfonner, but
his collaborative efforts with Hector Quine and Richard Wright have enabled Dodgson's
influence to permeate all strata of ability. The Dodgson and Quine studies demonstrate that
teaching material does not have to be predictable. They eschew the notion of a correlation
between the standard of difficulty of a piece and the position on the guitar in which it is
played, and the sight-reading material escapes from the anchor of first position and
combines with the tonal ambivalence of Dodgson's music to remove the element of
predictability inherent in the classical studies, obliging the student to approach the work
with an open mind, and read each note carefully. The idea of pupil-teacher duets is not
unique to Dodgson and Quine, but the melodic conception of Dodgson's music lends itself
to the application, and the easier duets in particular (those written at the request of Richard
Wright as grade examination pieces) allow both pupil and teacher to concentrate on the
pupil's tone production and technical security, without the distraction of the difficulties that
attend harmonic self-containment.
The status of the guitar is raised, and a step is taken towards its integration into the world
of art music, when it shares the concert platform, and thereby associates, with instruments
that are part of that world. Each of the four concertos that include the guitar achieves that
association without recourse to any tendency to pastiche, and therefore without any
corresponding tendency for the guitar to be represented as a novelty.
The three substantial duets, the trio and the quartet each present a high hurdle to all but
the best of guitarists, so their value is in the way they supplement a somewhat meagre
repertoire of serious, contemporary music for professional guitar ensembles. However,
although some of the works for massed guitars are quite difficult, none requires a virtuoso
standard, and they form a body of work that enables large groups of guitarists to set their
collective sights on a 'target' they know to be worthwhile (often at the conclusion of a
guitar festival) and rehearse music in which ensemble is the chief consideration, demanding,
almost uniquely for guitarists, that each player is keenly aware of the whole, in a way that
previously available material, mostly comprising semi-improvisational works, did rarely.
That benefit does not accrue from the ten chamber works, since their origins, as
185
commissions by or on behalf of professional ensembles, means that they are concert pieces,
of an uncompromising standard. The benefit here is one of context. The guitar is seen and
heard blended, and in equal partnership with, the flute, cello, harpsichord, viola, recorder
and string quartet. A similar contextual benefit arises from the songs with guitar
accompaniment, as well as helping to extend a very restricted repertoire of songs intended
for the modem guitar.
Dodgson was just eighteen years old when he observed, in a submission to his school
magazine, The Stoic, that the effect of Jamefelt's Praeludium 'is lost or made, more than
in many works, in the precision with which it is played'.
3
Over sixty years later, it can be
seen that the same observation is applicable to Dodgson's own works. Dodgson's 'precise
musical personality,4 demands that his compositions are played with a crisp clarity, and he
was fortunate to find, in John Williams, a guitarist with a security and economy of
technique, and the right musical outlook, to give expression to it. The subtleties of the
music are brought out with complete clarity, but equal subtlety of expression in Williams'
playing, leaving it largely to the listener to find the meaning; and with Williams' help,
Stephen Dodgson's compositions for the guitar have helped to integrate the guitar into the
ambit of art music in a two-way process: the nature of the writing, music-led rather than
instrument-led, taking its inspiration from the general world of music rather than from other
guitar composers, has helped to enable guitarists to see the wider musical world in
perspective; and the combination of the guitar with other instruments has encouraged other
musicians to accept the guitar as a serious and worthwhile instrument, drawing the guitar
into the general world of music, instead of being a thing apart.
The many parallel associations that Dodgson has had with other instrumentalists suggests
that Dodgson's treatment of those instruments may be areas for further study. One of the
first of those associations, with the Italian flautist Severino Gazelloni, led to many
compositions for the flute, including a concerto. Dodgson's association with the trumpeter
Philip Jones led to a large number of works for brass; and Bernard Roberts and the piano,
as well as Jane Clark and the harpsichord, can be paired in the same way that John Williams
and the guitar can, and may offer equally fruitful possibilities for research. Ibis may be
especially true of Dodgson's writing for the harp, encouraged and championed by the
harpist Maria Korchinska, since their association led to Dodgson devising a novel way of
3 Stephen Dodgson,'Music', The StoiC, 10 (April 1942), 67.
4 Francis Routh., Contemporary British MUSiC, (London: MacDonald, 1972), p. 362.
186
notating harp music, in which 'key signatures' are in reality pedal settings: a way of notating
harp music which means that it is unencumbered by accidentals, and one which arose from
one of Dodgson's principal objectives - to 'be practical'.
187
APPENDIX 1
Table 1.1 First broadcast performances of Stephen Dodgson's works during the years 1951 - 1960
Date Piece
Performers
Broadcaster
Commissioned
by:
(where applicable)
April Sonata for Piano
Helen Pike and Paul
BBCThird
1951 Duet (1949) Hamburger
Programme
29th June String Trio No. 1
The Virtuoso String Trio
BBCThird
1953 (1951)
(Neville Marriner, Stephen Programme
Shingles and Alexander
Kok)
December Capriccio & Finale The Wigmore Ensemble BBC Third
The Wigmore
1953 (1952)
Programme Ensemble
9th June String Quartet in B The Hirsch Quartet BBC Third
1955 minor (1953) Programme
May Serenade for Solo Watson Forbes (viola) BBCThird
1956 Viola and Orchestra RPO condo Walter Goehr Programme
(1956)
21st May The Soul's Progress The BBC Chorus with BBC Third
1957 (1953) RPO brass, harp and Programme
timpani, condo Leslie
Woodgate
August Suite for Brass Philip Jones Brass BBC Third Philip Jones
1957 Septet (1957) Ensemble Programme
December Suite in C minor for Tony Danby and Geoffrey BBC Third Tony Danby and
1957 Oboe and Piano Connah Programme Geoffrey Connah
(1957)
14th April Duo for Flute and Maria Korchinska and BBC Third Maria
1959 Harp (1958) Geoffrey Gilbert Programme Korchinska
1st June Quintet for Piano The Dutch Radio Sextet Hilversum Radio,
1959 and Wind
Holland
Instruments (1958)
8th June Serenade for Oboe London Reed Trio
BBC Third Michael Dobson
1960 Clarinet & Bassoon
Progranune
(1959)
23rd October Piano Concerto in B
Frieda Valenzi (piano)
Austrian Radio Austrian Radio
1960 minor (1959)
The Vienna Symphony
(a public concert
Orchestra condo A Aliberti
recorded live)
188
Table 1.2 First public perfonnances of Stephen Dodgson's works during the years 1952 _ 1960
Date Piece
Performers
Commissioned!
Place
promoted by:
12th February Fantasy for solo
Maria Korchinska
MacNaughten
Maria Korchinska
1952 Harp (1952)
Concert
Series, London
1952 LammasFair The pupils of Farmhouse
Fannhouse
Fannhouse School
(1952) School
School, Wendover
10th June Symphony in E b Orphean Chamber Wigmore Hall,
1954 for classical Orchestra, condo David London
orchestra (1952) Littaur
20th Taras Bulba (a The London Symphony The Royal Festival
The Society for the
November romantic overture) Orchestra, condo Norman Hall,. London Promotion of New
1954 (1950) Del Mar
Music
14th March Three Dances for Wolfgang Kellerman and The Arts Council,
1955 Violin and Piano Barbara Rohan London
(1950)
14th June All This Night The London Bach St Bartholomew-
1955 Shrill Chanticleer Society, condo Paul the-Great,
(1952) Steinitz Smithfield
11 th January Tideways [four Eileen McLoughlin and The Wigmore The Society for the
1956 songs for soprano Barbara Rohan Hall, London Promotion of New
and piano] (1950) Music
February Internle2:ZO for The Royal College of The Royal College The Royal College
1956 Orchestra (1954) Music Junior of Music of Music
Exhibitioners' Orchestra
March 1956 Six Inventions for Stanislav Heller The Wigmore Thomas Goff and
Harpsichord [set
Hall, London Stanislav Heller
one] (1955)
25th October Flute Quartet Richard Adeney (flute); The Mary Ward The Impresario
1956 (1955) Leonard Freidman,
Settlement, Society
Rosemary Green, Anna London
Shuttelworth
20th Nocturne for String Haslemere Orchestra
November Orchestra (1959) condo John Gardner
1960
Date
1966
1966
1968
1968
1969
1971
1972
1972
1973
1974
1975
1975
1975
1976
1976
1976
1977
1977
1977
1980
1983
1983
189
Table 1.3 A sample of Stephen Dodgson's commissions since he was appointed
professor of composition and harmony at the Royal College of Music in 1965
Title
Commissioned by:
F or whom intended
Quintet in C
The Battle Arts Group
Bryan Vickers and the Alberni
String Quartet
Toccata in D (For
St. Columbia's Church
The church organist:
Organ)
Alan Willmore
Cadilly (Entertainment
The Grosvenor Ensemble
The Grosvenor Ensemble
for four solo singers and
wind quintet)
Four Fables Badminton School, Bristol
Badminton School, Bristol
Bassoon Concerto
The Chamber Martin Gatt
Orche
Piano Trio fPiversions The Music in Our Time The Music in Our Time
on an air by obert Jones)
Festival Festival
Te Deum, with The Tilford Bach Society The Tilford Bach Society
exhortations from the
Martyrs
Suite in D major [or
Oboe and Harpslchord
Barbirolli and Valda
Avemg
Evet Barbirolli and Valda
Avemg
The Miller's Secret (A The Cookham Festival The Cookham Festival
children's opera)
Wind Symphony (Large The British Youth Wind The British Youth Wind
forces) Orchestra Orchestra
Baryton Trio The Esterhazy Baryton Trio The Esterhazy Baryton Trio
Last of the Leaves The Cookham Festival The Cookham Festival
(Cantata for bass,
clarinet and strings)
The Innocents The London Chorale The London Chorale
Bird Songs
The London Boy Singers
The London Boy Singers
The Eagle fSingle
The Scottish Amateur Music
The National Wind Band of
movement; one Poem Association
Scotland
after Tennyson)
In Wilde America
Harrow Philharmonic Choir
Harrow Philharmonic Choir
Bagatelles (For four
The Milton Ensemble
The Milton Ensemble
clannets)
Matelot after
The National Wind Band of
For the band's tour of Norway
Grieg's" ailor's Song") Scotland
Sonata for Wind
The Arts Council
The Vienna Wind
Quintet
Quintet
Stanzas (Large forces;
The South East Arts
The Surrey County Wind
sinw.e movement -
Association
Orchestra
continuous variations)
Piano Sonata No.3
(Variation on a Rhythm)
Kevin Kiddoo
Bernard Roberts
Sketchbook for Two
Chris Wilson and Tom
Chris Wilson and Tom
Lutes
Finucane.
Finucane.
190
Date Title
Commissioned by:
For whom intended
1984 Capriccio The South East Arts
The Surrey County Wind
Concertante
Association
Orchestra
kSubtitled "All Hallow's
ve"; single movement)
1984 Orion (Nonet for wind
EnneadILondon
EnneadlLondon (formed from
and brass)
the QuaItet with the
Farnaby rass Ensemble)
1984 'Tis Almost One TheBBC
The Choir of King's College,
Cambridge
1985 Magnificat and Nunc
The Chapel Royal
The Royal at the Tower
Dimittis
of London
1985 Musick's Duell Anthony Rooley, Emma
Anthony Rooley, Emma
Kirkby, and David Thomas
Kirkby, and David Thomas
1985 *String Quartet No.1 Dr. Urs Wagner
The Chilingirian Quartet
1987 Arlington Concertante The University of Texas at
The University of Texas at
Arlington Arlington
1987 Four Poems of Mary The Holst Singers, London The Holst Singers
Coleridge
1987 The Country Wedding The Felling Male Voice Choir The Felling Male Voice Choir
1990 Marchrider (Single The Lothian Regional Council The Lothian Regional Council
movement; modest
(a revised version was
forces)
completed in 1999)
1991 Flowers of London The Band Directors' The Coll% Band Directors'
Town National ssociation National sociation, for its
sequence er William 50th anniversary, Kansas City
Blake's 'Holy Thursday')
1991 Flute Concerto Robert Stallman Robert Stallman
1991 Spice of Life: Essence The Fine Arts Brass Ensemble The Fine Arts Brass Ensemble
and Variety (Variations:
for Brass Quintet)
1992 (Five
The National Youth Wind
The National Youth Wind
occasion pieces) Orchestra
Orchestra
1992 o Swallow (For flute in The Arts Council
Christopher Hyde-Smith
A [or G] and piano)
1994 Piano Sonata No. 6 Bernard Roberts
Bernard Roberts
1995
Pieces
'Harlequin' (Wind Quintet)
'Harlequin '
(For ind quintet)
1997 Daphne to Apollo (For
The Arts Council 'Arts for
Marie Vassiliou and Jeremy
Batyton & Soprano) Everyone'scheme
Brooker
1997 Flood (Music-theatre
'Harlequin'
'Harlequin'
piece)
1997 Rendezvous for 13
The Arts Council 'Arts for
The Mayfield Wind Sinfonia,
Instruments
Everyone'scheme
Sheffiela
*(String Quartet No.1 [1985]). The numbering of Stephen Dodgson's string quartets is
somewhat confusing. The work bearing the title String Quartet No.1, was in fact the fifth
string quartet he had written. The first was the one with which he won the Royal College
191
of Music Corbett Memorial Prize in 1948. This was followed by three more over the next
six years: String Quartet in B Minor, written in 1953 and taken up by the Hirsch String
Quartet, and the two leaner ones. In 1985 a Swiss friend of Stephen Dodgson, Dr. Urs
Wagner, commissioned a string quartet. A profound music lover, although not a musician
himself, Dr. Wagner wanted to express his special fondness for quartet music. When he had
completed the commission, Stephen Dodgson realised he would have to allocate a number
to the quartet. He christened it String Quartet No.1, and suggested that "those early ones
can calmly repose with minus numbers".
1
I Stephen Dodgson: talk given at the Cheltenham Festival, 15th July 1987.
192
Table 5.1: Commissions and known fIrst performances of Stephen Dodgson's solo guitar works
Commissioned by:
First performance
Guitarist
Date
Place
Partita No.1 John Williams John
4th July 1963
Cheltenham Festival
Williams
Saraband Written at the
instigation of
Hector Quine
Fantasy-Divisions John Williams John 25th January 1970
Queen Elizabeth Hall,
Williams
London
Serenade Written at the
instigation of
Hector Quine
Partita No.2 Angelo Gilardino John 12th November The Wigmore Hall,
Williams 1976 London
Interlude Written at the
(Summer instigation of
daydream) Hector Quine
Legend 'Musical New Forbes 1978 LP recording by Forbes
Services' for Guitar Henderson Henderson
Magazine
Merlin Phillip Thome Phillip 5th October 1979 Newbattle Abbey,
Thome Midlothian
Etude-Caprice The Toronto The six June 1981 University of Toronto
Festival (as the test competition
piece for the finalists
finalists in the 1981
solo performers'
competiti on)
Partita No.3 Gabriel Estarellas Gabriel 21st May 1983 Purcell Room, London
Estarellas
Stemma John Williams John
11 th May 1988 Royal Festival Hall,
Williams
London
Three Attic Dances Eleftheria Kotzia Eleftheria 21st February Dromena Festival, Athens
Kotzia 1990
The Troubled The publisher NicolaCuIf
16th March 1990 Cambridge
Midnight Zanibon (of Padua)
- who were taken
over by Berben
before publication
Partita No.4 The Royal Northern
Nicola Hall
17th July 1990
Cheltenham Festival
College of Music
on behalf of Nicola
Hall
Ode To The Guitar Written at the
instigation of
Hector Quine
The Midst Of Life John Williams and John
6th November
Barbican Centre, London
Peter Biddulph Williams
1994
193
Table 5.2: Principal data relating to Stephen Dodgson's solo guitar works
Date Dur.
Movements
Publisher
(mins)
Partita No. 1 1963 10 I Allegro con moto
Oxford University Press
II Molto vivace
m Adagio
Saraband 1968 2 Single span
(Contained in 'Modem Guitar Music - Eight pieces by
British composers' edited by Hector Quine.)
Fantasy-Divisions 1969 8 Theme and five variations
Berben
Serenade 1974 lY2 Single span
(Contained in 'Easy Modem Guitar Music - Ten pieces
by British composers' edited by Hector Quine.)
Partita No.2 1976 13 I Fanfare 1 (Presto)
Originally published by Oxford
II Allegro University Press
III Fanfare 2 (Allegretto)
IV Moderato
V Fanfare 3 (Vivo; marcato)
Interlude 1977 4 Single span Ricordi
(Summer daydream)
(Contained in 'British Composers - Twentieth
Century Guitar Music' edited by Hector Quine.)
Legend 1977 6 Single span Originally published by Musical New Services
Merlin 1978 7 Single span Moeck Verlag
Etude-Caprice 1980 5 Single span Doberman-Yppan
Partita No.3 1981 12 I Allegro non troppo Berben
II Poco Adagio e Mesto
ill Animato Assai, Ma Calmo
IV Poco Adagio
V Allegro Deciso rna con amore
Stemma 1988 7 Single span
Three Attic Dances 1989 8 I Poco vivace
II Lento: Sempre Sostenuto
III Con Brio
The Troubled 1989 5 Single span
Berben
Midnight
(Contained in 'Anthology of Nocturnes & Dances'
compiled by Carlo Carfagna)
Partita No.4 1990 12
I
Slow: Moody and
capricious
II
Agitated: with a tense
rhythm III
Steady and
Expressive
IV
Energetic but
measured
Ode To The Guitar 1991 17 10 miniatures
Ricordi
5 in each of two volumes
The Midst Of Life 1994 10 Single span
194
Table 6.1: Instrumentation of the four Dodgson concertos that include guitar.
Concerto for
Concerto for
Duo Concerto
Concertino for 2
guitar and
guitar and
for violin, guitar
guitars and
orchestra No. 1 orchestra No.2
and strings
strings
Date 1956
1972
1990
1998
Approximate
19 22
21
16
duration in minutes
Orchestral 1 flute 1 flute
violin 1
violin 1
Instrumentation
3 clarinets 2 oboes d'amore violin 2
violin 2
1 bassoon
(inA)
viola
viola
2 horns
2 clarinets (in B b)
cello
cello
4 first violins
1 bassoon
double bass double bass
4 second violins
2 tenor trombones
3 violas
1 bass trombone
2 cellos
glockenspiel
1 double bass
marimba
small bongo
harp
first violins
second violins
violas
cellos
double bass
195
Table 6.2: Principal features of the four Dodgson concertos that include guitar
Concerto for
Concerto for
Duo Concerto
Concertino for 2
guitar and
guitar and
for violin, guitar
guitars and
orchestra No.1
orchestra No.2
and strings
strings
Movements 1. Allegro
1. Presto
1. Allegro rna non
Introduction
Comodo
2. Meno Mosso
troppo
1. Largo - Allegro
2. Lento
quasi Cadenza
2. Meno mosso:
Moderato
3. Molto Vivace 3. Allegretto e
Liberamente - 2. Lento
Robusto
Poco Lento
3. Vivace rna non
4. Poco Lento 3. Allegretto
troppo
5. Presto come 4. Andante
pruna 5. Allegro non
tanto -
PiuAllegro
Structure Three discrete Single span Sequence of five Introduction
movements divided into five interlocking leading into three
contrasting movements, each linked
sections of the first four movements
interrupted by the
next.
Lengths of
6'30" 3'40" 1'30" (1'00")
sections/movements
6'10" 1'40" 1'35" 4'30"
6'05" 6'10" 4'40" 5'40"
6'35" 6'00" 4'45"
3'55" 7'00"
Number of
14/ 5/
159
5/
40
(/10)
178
complete bars in
/54
6/27
9/
24
8/
114
which the
4/227
20/ 18/ 30/
soloist(s) plays 149 127 65
6/
70
17/ 37/
unaccompanied* 61 170
4/
175
42/
260
Number of 64/
178
65/ 8/
40
CO/IO)
159
/24
16/ complete bars in
22/
4/27
114
which the
54
15/
4/65 79;
55/
149
127
soloist(s) is 227
/61
50/
silent*
8/
70
170
65/
175
26;
260
In each 1
26
1
(-)
movement/section, 11
2
1
1
the soloist(s) 19
22
1
4
enters during bar
1
1
1
3
11
number: *
* The subdivisions of whole bars divided by a dotted line have been included in this total.
196
Table 7.1 Features of Stephen Dodgson's works for guitar trio and guitar duet
Title Date
For whom Dur.
First
Programmatic story-line
written
written
(mins)
Performance
Follow the 1979 Pieter van 6 The Stichting
Each of the three guitars represents
Star: Fantasy der Staak
Gitaarweken
one of the three kings of the
on an old (on behalf
Zwolle, The
nativity, Casper, Melchior, and
Dutch of The
Netherlands
Balthasar, and each 'presents', in
Chris1mas Stichting
Summer,
turn, a derivation of a phrase from
hymn Gitaarweken).
1980.
a Christmas hymn composed in the
vicinity of Zwolle in the mid-15th
Guitar Trio
century.
Promenade I 1988 Duo 8 Rome,
Two holiday-makers at a seaside
Chittaristico 1998/99.
resort take an afternoon stroll.
Guitar Duet Italiano
They set our, full of joy and
(Mario
energy, sunlight dazzling over the
Fragnito and
water, and encounter, in turn, an
Lucio
aviary, a dogfight, an abruptly-
Matarazzo)
formed sea-mist, and an old-world
merry-go-round.
Pastourelle 1992 The 7 The Amadeus An imagined dialogue between a
Amadeus Guitar Duo. nobleman and shepherdess
Guitar Duet Guitar Duo International derived from an old French verse:
(Dale Guitar
"Pastourelle, si t'est bel
Kavanagh & Symposium,
Dame seras d'un chasteI"
Thomas Iserlohn,
Kirchhoff) Germany. "Sire! Traiez vous en la
1 ~ August Car tel plait 01 je ja"
1993.
Riversong: 1994 The 15 The An image of the unchanging flow
Rhapsody for Groningen Groningen of a great river, based on the poem
Two Guitars Guitar Duo
Guitar Duo. River Song written by John Heath-
(Remcodo
Purcell Room, Stubbs, fragments of which are
Guitar Duet Haan&Erik
London, illustrated by the music, and evoke
Wester hot)
2 ~ April scenes 'witnessed' by the river in
1995
past ages, and reflect 'indignities'
it has suffered more recently.
197
Table 7.2 Features of Stephen Dodgson's works which include massed guitars
Title Date
For whom Dur.
Forces
Movements
written
written
(mins)
Personent 1981 The 12
'Solo' guitar trio and
Single Span
Hodie
Esztergom
guitar ensemble playing
Guitar
eight parts with an
Festival,
unlimited number of
Hungary
players per part.
(Therefore a minimum
of 11 players.)
Hymnus de 1983 The 6 'Solo' soprano and
Single Span
Sancto Esztergom
Stephano Guitar four parts with an
Festival, unlimited number of
Hungary players per part.
of 4 guitarists.)
Divertissement 1984 The 17 'Solo' violin, I Sinfonia
Toronto guitar ensemble playing
Guitar requinto part and six
II Musette
Festival, standard guitar parts
III Scherzo I
Canada with an unlimited
number of players per
IV Valse
part, and
V Scherzo II
'solo' bass guitar or
double bass. VI Wherever Next?
vn Rondo
of 7 requinto/guitarists.)
Intermezzo 1987 The 3 Guitar ensemble Single Span
Esztergom
playing four parts with
Guitar
an unlimited number of
Festival,
players per part.
Hungary
of 4 guitarists.)
The Selevan 1992 The 17 'Solo' flute,
I Prelude
Story Prussia
'solo' violin,
(On the rocks)
Cove
two 'solo' guitars and
II Dialogue
Guitar
(Johana's garden)
Seminar,
four parts with an
ill Pastoral
Cornwall
unlimited number of
(The saint's path)
players per part.
IV Passamezzo
(The St Levan stone)
of 6 guitarists.)
V Concertino
(Two fish on one hook)
Watersmeet 2002
The National
9
'Solo' guitar and
Single span
Youth Guitar
Ensemble at
four parts with an
the Bath
International
unlimited number of
Guitar players per part.
Festival
of 5 guitarists.)
Pastoral Sonata
Duo Concertante
Quintet
Duo for Cello and
Guitar
Dialogues
Capriccio
Sonata For Three
In Search Of
Folly
Echoes of
Autumn
High Barbaree
(Capriccio in pursuit
of an old sea-song)
198
Table 7.3 Commissions and known frrst perfonnances of
Sttmhen Dodgson's chamber music which includes guitar
Commissioned by:
First performance
Performers
Date
Place
Musica da Camera Harold Clarke
Elergy (the slow,
BBC Third
(flute)
central
programme
Joy Hall
movement)
(cello)
broadcast 19
1h
Julian Bream
February 1957.
(guitar)
The whole,
revised, work
broadcast 24th
October 1962,
again by Musica
da Camera, but
with John
Williams on the
guitar.
John Williams and John Williams August 1968 Dartington Summer
RafaeIPuyana (guitar) School
Rafael Puyana
(harpsichord)
University of Julian Bream 9
1h
January 1975 University of
Lancaster (guitar) Lancaster
The Sartori
Quartet
Rohan de Saram Rohan de Saram 9
1h
November Queen Elizabeth Hall,
and John Williams (cello) 1975 London
John Williams
(guitar)
Raymond Burley Raymond Burley 25th June 1976 The Wigmore Hall,
and Stephen Bell (guitar)
London
Stephen Bell
(harpsichord)
Frank Nagel
The Duo Basel 1981 Rome
{Frank Nagel
(flute)
Walter Feybli
(guitar)}
Editions Orphee
(publishers)
Frank Nagel
The Duo Basel
No details No details
{Frank Nagel
available available
(flute)
Walter Feybli
(guitar)}
Pierre-Henri
Pierre-Henri
No details
No details
Xuereb and Olivier
Xuereb (viola)
available
available
Chassain
Olivier Chassain
(guitar)
John Turner
John Turner
27th July 1999
The Bridgewater Hall,
(recorder)
Manchester
Craig Ogden
(guitar)
Pamela Nash
(harpsichord)
199
Table 7.4 Principal characteristics of chamber works by Stephen Dodgson that include the guitar
Title
Date Dur.
Instrumental Combination
Movements
(mias)
Duets Trios Quintet
Pastoral Sonata
19531 14
Flute;
1. Overture (Andantino)
19591
Cello;
2. Elegy (Lento)
1998
Guitar.
3. Carnival (Con Brio)
Duo Concertante
1968 15 Guitar,
Integrated single movement
Harpsi-
chord.
Quintet
1973 16
Guitar, 1. Overture
String 2. Scherzo
Quartet.
3. Chaconne
Duo for Cello and
1974 16 Cello;
1. Arabesque
Guitar
Guitar.
2. Invention
3. Nocturne
4. March
5. Vigil
6. Bagatelle
Dialogues
1976 10 Guitar; 1. Lively with tension
Harpsi- 2. Peaceful, Melodious
chord.
3. Expressive, and Bold
4. Energetic
Capriccio
1980 9 Flute; Integrated single movement
Guitar.
Sonata For Three
1982 II Flute; 1. Allegro Deciso
Viola; 2. Lento
Guitar. 3. Agitato - Con Moto (Chaconne)
In Search Of
1986 7 Flute; Integrated single movement
Folly
Guitar.
Echoes of
1998 5 Viola; Integrated single movement
Autumn
Guitar.
High Barbaree
1999 7 Recorder Integrated single movement
(aItemating tenor
(Capriccio in pursuit
and descant);
of an old sea-song)
Guitar;
Harpsichord.
200
Table 8: Principal characteristics of Dodgson's works for voice and guitar
Title Date For whom Dur. Movements First performance
written
(mins.)
Four Poems of 1962 Wilfred 10 1. Trotty Wagtail Feb. The
John Clare
Brown and 2. The Peasant Poet 1963 McNaughton
Jobn 3. Turkeys Concert Series
Williams 4. TheFox
London Lyrics 1977 Neil Jenkins 15 1. London is a 29
th
BBC Radio 3
and Anthea Milder Curse Jan.
Gifford 2. Shadwell Stair 1980
3. From a Ship
Tossing
4. Margaret, Maud
and Mary Blake
5. River Music
(1967)
Dapbne to Apollo 1997 Marie 5 Single span 20
th
The Esterhazy
Vassiliou
Sept. Palace,
and Jeremy
1997 Eisenstadt,
Brooker
Austria
201
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APPENDIX 3
STEPHEN DODGSON: Selective Chronological List of Works
1948 FANTASY STRING QUARTET
1949 SONATA FOR PIANO DUET
1950 TARAS BULBA (Romantic Overture for Full Orchestra)
THREE DANCES FOR VIOLIN & PIANO
TIDEW A YS (Four songs for Soprano with Piano)
1951 STRING TRIO No 1
1952 ALL TIllS NIGHT SHRILL CHANTICLEER (Anthem for SATB with Organ)
CAPRICCIO & FINALE (Flute, Clarinet, Harp and String Trio)
FANTASY for SOLO HARP
LAMMAS FAIR (An operetta in one act)
SYMPHONY IN E b (for Classical Orchestra)
1953 PASTORAL SONATA (for Flute, Cello & Guitar [revised in 1959 and 1998])
THE SOUL'S PROGRESS (Cantata: Soloists, Choir & Ensemble)
1954 INTERMEZZO FOR ORCHESTRA
1955 DALE FOLK (for Girls' Choir with Piano or Clarinet Quartet)
FLUTE QUARTET (Flute and String Trio)
1955 SIX INVENTIONS for HARPSICHORD: Set 1
1956 GUITAR CONCERTO No.1 (Guitar & Chamber Orchestra)
SERENADE FOR SOLO VIOLA and ORCHESTRA
1957 SUITE for Brass Septet
SUITE in C MINOR for Oboe & Piano
1958 DUO for FLUTE & HARP
QUINTET FOR PIANO and WIND INSTRUMENTS (oboe, Clarinet, Bassoon and
Hom)
1959 NOCTURNE FOR STRING ORCHESTRA (single movement)
PIANO CONCERTO IN B MINOR
PIANO SONATA No 1
SERENADE FOR OBOE, CLARINET & BASSOON
1961 CONCERTO for VIOLA da GAMBA & Chamber Orchestra
SIX INVENTIONS for HARPSICHORD: Set 2
THE OLD CIGARETTE LIGHTER (Flute and Oboe with Narrator and Pianoforte)
1962 FOUR POEMS of JOHN CLARE (Voice & Guitar)
HYMN TO HARMONY (Chorus & Semichorus with Orchestra)
1963
1964
1965
1966
1967
1968
1969
1970
1971
1972
1973
240
CONCERTO DA CAMERA No.1 (Violas, Cellos and Harpsichord)
P ARTIT A No 1 for Guitar
SONATA for BRASS
SONATA for VIOLA & PIANO
STRING TRIO No 2
SUITE (Wind Quintet)
THE NATIVITY (for Children's Choir)
PIANO QUINTET
CARILLON for TWO HARPSICHORDS
PIANO TRIO No 1 (Methought this other night)
SONATA for COR ANGLAIS (with Pianoforte)
CADILL Y (Vocal Quartet with Wind Quintet)
DUO CONCERTANTE for Guitar & Harpsichord
FOUR FABLES (for SSA Choir & Orchestra)
FOUR MOODS OF THE WIND for piano
SARABAND (Guitar)
SONATA for CELLO & PIANO
BASSOON CONCERTO (with Chamber Orchestra)
BALLADE (Harp)
BENEDICTUS (unaccompanied Chorus)
CONCERTO da CAMERA No 3 (for 2 Flutes, Violin & Strings)
FANTASY-DIVISIONS for Guitar
THE DISTANCE BETWEEN (Soprano & Baritone with Pianoforte)
FIVE OCCASIONAL PIECES for CELLO & PIANO
LOVE'S MADNESS (Soprano with String Trio and Harpsichord)
SIX INVENTIONS for HARPSICHORD: Set 3
V ARIAZIONI CONCERTANTI (Flute, Oboe, Violin, Cello and Harpsichord)
W ARBECK DANCES (Recorder and Harpsichord)
CONCERTO da CAMERA No 4 (piano & Strings)
PIANO TRIO (Diversions on an air by Robert Jones)
GUITAR CONCERTO No 2 (Guitar & Chamber Orchestra)
ILLUMINARE JERUSALEM (unaccompanied Male Voice Sextet)
LAST OF THE LEA YES (Bass with Solo Clarinet and Pianoforte)
SUITE in D for OBOE & HARPSICHORD
TE DEUM (for Soloists, Choir & Orchestra)
THREE WINTER SONGS (Soprano with Oboe and Pianoforte)
GUITAR QUINTET (Guitar and String Quartet)
PIANO TRIO No 2 (in one movement; 'Canonic Episodes')
THE MILLER'S SECRET (Children's Opera with Chamber Ensemble)
TRIO FOR OBOE, BASSOON and PIANO
241
1974 BEFORE THE PALING OF THE STARS (Carol, SATB)
BUSH BALLADS (Voice & Piano)
DUO for CELLO & GUITAR
SERENADE (for Guitar)
SOL WAY SUITE (Flute, Viola & Harp)
WIND SYMPHONY
1975 BARYTON TRIO (Baryton, Viola and Cello)
LAST OF THE LEAVES (Cantata; Voice, Clarinet & Strings)
MAGNIFICAT (Soloists, Choir & Orchestra)
PIANO SONATA No 2
SHINE & SHADE (Variations for Recorder and Harpsichord)
SEPTET -VARIATIONS (Flute, Clarinet, Harp, String Quartet)
THE INNOCENTS (Motet for Unaccompanied Choir)
1976 BIRD SONGS (Unaccompanied Boys' Choir)
DIALOGUES (Guitar and Harpsichord)
GIPSY SONGS (Mezzo, Clarinet & Piano)
IN WILDE AMERICA (Cantata: Choir, Wind Ensemble & Organ)
P ARTITA No 2 for Guitar
THE EAGLE (for Wind Band)
1977 AULOS VARIATIONS (Flute, Oboe & Harpsichord)
BAGATELLES for FOUR CLARINETS
EPIGRAMS FROM A GARDEN (Songs for Contralto & Clarinet Choir)
INTERLUDE (for Guitar)
JOHN CLARE'S WOOING SONGS (3 Voices with Piano)
LEGEND (for Guitar)
LONDON LYRICS (songs with Guitar)
MA TELOT (for Wind Band)
SONATA for WIND QUINTET
1978 CAPRICE AFTER PUCK (solo Viola)
FANTASIA for SIX BRASS (3 Trumpets, 3 Trombones)
MERLIN (for Guitar)
1979 CONCERTO da CAMERA No 5 (2 Oboes, 2 Bassoons & Strings)
FOLLOW THE STAR (3 Guitars)
MARGARET CATCHPOLE (Chamber Opera)
1980 CAPRICCIO (Flute & Guitar)
ESSAY No 1 (Orchestra)
ETUDE CAPRICE for guitar
ODE for Harp & Strings .
SIR JOHN (Cantata; Choir with Violin, Hom & Plano)
STANZAS (Wind Band)
THE TOWER (Baritone & Organ)
242
1981 DUO ALLA FANTASIA (Harp & Harpsichord)
JUBILATE (unaccompanied Chorus)
PERSONENT HODIE (for Massed Guitars)
1982 CHANSON DE CROISADE (Counter Tenor & Harpsichord)
FIVE OCCASIONAL PIECES for VIOLIN & PIANO
QUATRE RONDEAUX de CHARLES d'ORLEANS (Voice & Harpsichord)
SONATA-DIVISIONS (Harpsichord)
SONATA FOR FOUR (Violin, Oboe, Cello & Harpsichord)
SONATA FOR THREE (Flute, Viola & Guitar)
1983 BENEDICHE (unaccompanied Chorus)
CLARINET CONCERTO (with Chamber Orchestra)
HYMNUS DE SANCTO STEPHANO (Solo Soprano & Guitar Ensemble - 4 parts)
PIANO SONATA No 3
SKETCHBOOK FOR TWO LUTES
1984 CAPRICCIO CONCERTANTE ('All Hallows' Eve': Clarinet & Wind Band)
DIVERTISSEMENT (Violin, Guitar Ensemble & Bass)
MASQUE (Oboe Band including Bassoons)
ORION (Variations; Nonet for Wind & Brass)
THE OLD CIGARETTE LIGHTER (Re-work of 1961 version, for Wind Quintet)
'TIS ALMOST ONE (Sequence of Anthems; Choir with Organ)
1985 CONCERTO for BASS TROMBONE
MAGNIFICAT & NUNC DIMITIIS (anthems, SATB)
MUSICK'S DUELL (Cantata for 2 Voices with Lute)
PARTITA for SOLO CELLO
STRING QUARTET No 1
SIX INVENTIONS for Harpsichord: Set 4
1986 BAERMANN'S TREASURE (Clarinet & Piano)
FESTIVE SEQUENCE (for Piano Accordion)
IN SEARCH OF FOLLY (Variations on 'La Folia' for Flute & Guitar)
SONGS OF THE HEART (4 Unaccompanied Choral Songs)
STRING QUINTET
1987 ARLINGTON CONCERTANTE (solo Harpsichord with Woodwind Quintet, Brass
Quintet, Double Bass and Light Percussion)
FANTASIA (for Six Brass)
FOUR POEMS OF MARY COLERIDGE (Chorus & Flute)
INTERMEZZO (Massed guitars in four parts [minimum of four guitars])
SONATA for OBOE & PIANO
STRING QUARTET No 2
243
THE COUNTRY WEDDING (Male Voice Chorus & Violin)
1988 CROSSWAYS (Brass Quintet)
INVOCATION (partsong SATB)
PIANO SONATA No 4
PROMENADE I (2 Guitars)
PROMENADE IT (Wind Quintet)
STEMMA (for Guitar)
SYMPHONY IN ONE MOVEMENT (Chamber Orchestra)
1989 SINFONIA: TROIA NOVA (Orchestra)
STRING QUARTET No 3
THE TROUBLED MIDNIGHT (Guitar)
THREE ATTIC DANCES (Guitar)
1990 COUNTDOWN for OBOE & HARP
DUO CONCERTO for Violin & Guitar & Strings
FIVE OCCASIONAL PIECES for FLUTE & PIANO
FLOWERS OF LONDON TOWN (for Wind Band)
MARCHRIDER (for Wind Band)
THE SNAIL AND THE BUTTERFL Y (Two tenors with Harpsichord)
1991 CORLEONIS (Solo Hom)
FLOWERS OF LONDON TOWN (Wind Band)
FLUTE CONCERTO (Flute and String Orchestra)
MISSA BREVIS (Unaccompanied Choir)
ODE TO THE GUITAR - 10 miniatures (with Hector Quine)
volume 1 Nos. 1 - 5
volume 2 Nos. 6 -10
SPICE OF LIFE (Variations: for Brass Quintet)
TRIPTYCH for Organ
1992 BANDWAGON (Wind Band)
ESSAY No 7 (String Orchestra)
o SWALLOW (Flute with Pianoforte)
PIANO SONATA No 5
PASTOURELLE (Two Guitars)
THE SELEV AN STORY (Concertante: Flute, Violin & Guitar Ensemble)
1993 FIVE OCCASIONAL PIECES for String Quartet (QUARTET No 4)
OBOE QUARTET
SIX INVENTIONS for HARPSICHORD: set 5
YOUR EYES SMILE PEACE (for Brass Band)
244
1994 PARTITA for TEN WIND INSTRUMENTS
PIANO SONATA No 6
RIVERSONG (Two Guitars)
THE MIDST OF LIFE (Solo guitar)
TWO PIECES for SOLO ALTO FLUTE a) The Silver Tube
b) The Faery Beam Upon You
YOUR EYES SMILE PEACE (Brass Band)
1995 BAERMANN - THE SEQUEL (Clarinet & Piano)
CHRISTMAS COLLECTION (Seven Settings for Unaccompanied Voices)
DIVERTIMENTO for FOUR (Brass Trio & Piano)
FIVE PENNY PIECES (Wind Quintet)
THE NEW TERPSICHORE (Violin & Harpsichord)
THE RISING OF JOB (Orchestra)
1996 CHANGE-RINGERS (Four Guitars)
DIVERTIMENTO for ORCHESTRA
STRING SEXTET
TOCCATA FOR THE NEW YEAR (Organ)
THE NEW TERPSICHORE (Book 2)
TWO ROMANTIC PIECES for CELLO & PIANO
1997 AULOS VARIATIONS (Flute & Oboe, with Harpsichord)
DAPHNE TO APOLLO (Voice & BarytoniGuitar)
EXCURSIONS (Brass Quintet)
FLOOD (Wind Quintet: Music Theatre Piece)
LINES FROM HAL SUMMERS (Unaccompanied Choral Songs)
PIECES OF EIGHT (Wind Octet)
RENDEZVOUS (13 Wind Instruments)
THE MAZE (Unaccompanied Recorder)
1998 BUSH BALLADS (Series 2)
CONCERTINO for Two Guitars & Strings
ECHOES OF AUTUMN for Viola & Guitar
ROOT AND BRANCH (Duetto for Double-Bass and Cello)
St. ELMO'S FIRE (Wind Orchestra)
SIX BAGATELLES for PIANO
STRING QUARTET No 5
TINDERBOX for PIANO & NARRATOR
1999 CONCERTINO for Flute, Harp & Strings
CONCERTO FOR FLUTE AND STRINGS
HIGH BARBAREE (Capriccio in pursuit of an old sea-song) for descant/tenor
recorder, guitar and harpsichord .
MARCHRIDER (substantially revised from 1990 versIOn)
PIANO QUINTET No.2. .
WIND SYMPHONY (structurally similar to 1974 versIOn, but substantially altered
in instrumentation)
245
2000 PlllLIP'S REPOSE for Brass Quintet
ESSAY No.8 for Orchestra
DIVERSIONS for Wind Quintet
VIOLIN SONATA (Violin & Piano)
CONCERTO CHACONY (Recorder & Strings)
LIGHTING THE MATCH (Double Bass & Piano)
PIANO TRIO No.3
2001 BEYOND ORlON (Nonet for Clarinet Quartet and Brass Quintet; sequel to
ORlON, 1984)
STRING QUARTET No.6
HOME-BRED PICTURES (for Chorus with Harp)
STRING QUARTET No.7
CERBERUS (Tuba & Piano)
W ARBECK DANCES (substantial revision of original 1970 version)
(Recorder & Harpsichord)
2002 WATERSMEET (Solo Guitar and Guitar Ensemble - 4 parts)
W ARBECK TRIO (a version ofW ARBECK DANCES, with the addition of
Bassoon)
TRUMPET CONCERTO (with Wind Band)
VENUS TO THE MUSES (Soprano, Recorder, Bassoon and Harpsichord)
2003 BUSH BALLADS (Series 3) (vocal duets with Piano)
PIANO SONATA No.7
246
CHRONOLOGICAL LIST OF STEPHEN O D G S O N ~ S WORKS THAT INCLUDE
GUITAR
* Studies & teaching material written in collaboration with Hector Quine
** Studies & teaching material written in collaboration with Richard Wright
1953
1956
1961
1963
1965
1968
1969
1972
1973
1974
1976
1977
1978
1979
1980
1981
1982
1983
PASTORAL SONATA (Flute, Cello & Guitar [revised, first in 1959, and again in
1998])
GUITAR CONCERTO No.1 (Guitar & Chamber Orchestra)
FOUR POEMS of JOHN CLARE (Voice & Guitar)
20 STIJDIES for GUITAR*
DUO CONCERTANTE for Guitar & Harpsichord
SARABAND for Guitar
FANTASY-DIVISIONS for Guitar
GUITAR CONCERTO No 2 (Guitar & Chamber Orchestra)
GUITAR QUINTET (Guitar and String Quartet)
PROGRESSNE READING FOR GUITARISTS*
SERENADE for Guitar
DIALOGUES for Guitar & Harpsichord
P ARTIT A No 2 for Guitar
TAKE TWO (2 guitars)*
INTERLUDE (Summer Daydream) for Guitar
LEGEND for Guitar
LONDON LYRICS (songs with Guitar)
MERLIN (for Guitar)
12 TRANSITIONAL STUDIES*
FOLLOW THE STAR (3 Guitars)
CAPRICCIO (Flute & Guitar)
ETIJDE CAPRICE for Guitar
PERSONENT HODIE (for Massed Guitars)
SONATA FOR THREE (Flute, Viola & Guitar)
HYMNUS DE SANCTO STEPHANO (Solo Soprano & Guitar Ensemble - 4 parts)
247
1984 12 INTRODUCTORY STUDIES (for Guitar)*
AT SIGHT (for Guitar)*
DNERTISSEMENT (Violin, Guitar Ensemble & Bass)
1986 IN SEARCH OF FOLLY (Variations on 'La Folia' for Flute & Guitar)
1987 DOUBLE TAKE (2 Guitars)*
INTERMEZZO (Massed guitars in four parts [mjnjmum of four guitars])
STUDY IN DUO (2 Guitars)*
1988 PROMENADE I (2 Guitars)
STEMMA (for Guitar)
1989 THE TROUBLED MIDNIGHT for Guitar
THREE A TIIC DANCES for Guitar
1990 DUO CONCERTO for Violin & Guitar
PARTITA No 4 for Guitar
1991 ODE TO THE GUITAR - 10 miniatures
volume 1 Nos. 1 - 5
volume 2 Nos. 6 -10
1992 PASTOURELLE (Two Guitars)
THE SELEV AN STORY (Concertante: Flute, Violin & Guitar Ensemble)
1994 RNERSONG (Two Guitars)
THE MIDST OF LIFE (Solo guitar)
1996 CHANGE-RINGERS (Four Guitars)
1997 ADVENT SONG**
AIR (Two Guitars)* *
BEACHCOMER**
BEST FOOT FORWARD (Two Guitars)**
GRASSHOPPER**
V ALENTINE**
CONVERSATION PIECE (Two Guitars)**
DAPHNE TO APOLLO (Voice & BarytoniGuitar)
PASTOR FIDO (Two Guitars)**
1998 CONCERTINO for Two Guitars & Strings
ECHOES OF AUTUMN (Viola & Guitar)
1999 HIGH BARBAREE (Capriccio in pursuit of an old sea-song) for descant/tenor
recorder, guitar and harpsichord
2002 WATERSMEET (Solo Guitar and Guitar Ensemble)
248
STEPHEN DODGSON: Selective Categorical List of Works
o Works so marked have been issued in commercial recordings
MUSIC FOR GUITAR
Solo Guitar
o PARTITA No 1
* SARABAND
o FANTASY-DIVISIONS
* SERENADE
o PARTITAN02
* INTERLUDE (Summer Daydream)
o LEGEND
MERLIN
ETUDE-CAPRICE
o PARTITA No 3
STEMMA
* THE TROUBLED MIDNIGHT
o THREE ATTIC DANCES
PARTITAN04
ODE TO THE GUITAR (10 miniatures)
volume 1 Nos. 1 - 5
volume 2 Nos. 6 -10
THE MIDST OF LIFE
*' In Collections
Saraband
1963
1968
1969
1974
1976
1977
1977
1978
1980
1981
1988
1989
1989
1990
1991
1994
(In 'Modem Guitar Music' compiled by Hector Quine)
Serenade
10 minutes
2 minutes
8 minutes
1'li minutes
13 minutes
4 minutes
6 minutes
7 minutes
5 minutes
12 minutes
7 minutes
5 minutes
8 minutes
12 minutes
10 minutes
(In 'Easy Modem Guitar Music' compiled by Hector Quine)
O.D.P.
O.D.P.
Berhen
O.D.P.
O.D.P.
Ricordi
Musical New Services
Moeck Verlag
Doberman-Yppan
Berben
Berben
Ricordi
Interlude . . . ,
(In 'The Young Guitarist - 17 Classical arrangements - Twentieth Century Bntish Composers
compiled by Hector Quine)
The Troubled Midnight
(In 'Anthology ofNoctumes & Dances' compiled by Carlo Carfagna)
249
Studies and teaching material for guitar
In collaboration with Hector Quine:
0
some
20 STUDIES
volume 1 Nos. 1 - 10
volume 2 Nos. 11 -20
PROGRESSIVE READING
TAKE TWO (5 short duets)
12 TRANSITIONAL STUDIES
12 INTRODUCTORY STUDIES
AT SIGHT
DOUBLE TAKE (5 short duets)
STUDIES IN DUO (duets)
At the instigation of Richard Wright:
ADVENT SONG
BEACHCOMER
GRASSHOPPER
VALENTINE
Duets for pupil and teacher:
AIR
BEST FOOT FORWARD
CONVERSATION PIECE
PASTORFIDO
Concertos that include the guitar
o GUITAR CONCERTO No.1
(with Chamber Orchestra)
o GUITAR CONCERTO No 2
o DUO CONCERTO for
VIOLIN & GUITAR
(with string orchestra)
CONCERTINO for
TWO GUITARS & STRINGS
1965
1973
1976
1978
1984
1984
1987
1987
1997
1997
1997
1997
1997
1997
1997
1997
1956
1972
1990
1998
19 minutes
22 minutes
22 minutes
15 minutes
Ricordi
Ricordi
Ricordi
Ricordi
Ricordi
Ricordi
Ricordi
Ricordi
Chanterelle
Chanterelle
Chanterelle
Chanterelle
Chanterelle
Chanterelle
Chanterelle
Chanterelle
Berben
Berhen
Cadenza
Chamber Music that includes guitar
PASTORAL SONATA
(Flute, Cello & Guitar)
o DUO CONCERTANTE
(Guitar & Harpsichord)
o QUINTET
(Guitar & String Quartet)
DUO FOR CELLO & GillTAR
DIALOGUES
(Guitar & Harpsichord)
o CAPRICCIO
(Flute & Guitar)
SONATA FOR THREE
(Flute, Viola & Guitar)
IN SEARCH OF FOLL Y
(Variations on 'La Folia'
for Flute & Guitar)
ECHOES OF AUTUMN
HIGH BARBAREE
250
1953/59/98
1968
1973
1974
1976
1980
1982
1986
1998
1999
(Capriccio in pursuit of an old sea-song)
for descant/tenor recorder,
guitar and harpsichord
14 minutes
15 minutes
16 minutes
16 minutes
10 minutes
9 minutes
11 minutes
7 minutes
5 minutes
7 minutes
Cadenza
Eschig
Cadenza
Schott
Editions Orphee
Moseler Verlag
Guitars in Combination
Two Guitars
o PROMENADE I
o PASTOURELLE
o RIVERSONG
Three Guitars
o FOLLOW THE STAR
Four Guitars
CHANGE-RINGERS
1988
1992
1994
1979
1996
7 minutes
7 minutes
15 minutes
Berben
Nogatz
6 minutes Broekmans & Van Poppel
7 minutes
251
Music that includes Guitar Ensemble
PERSONENT HODIE
1981
(Guitar Ensemble;
minimum 11 players)
o HYMNUS DE SANCTO
1983
STEPHANO
(Solo Soprano &
Guitar Ensemble - 4 parts)
o DIVERTISSEMENT
1984
(Solo Violin,
Guitar Ensemble & Bass)
INTERMEZZO 1987
(Massed guitars in four parts
[minimum of four guitars])
o THE SELEV AN STORY 1992
(Solo Flute, Solo Violin,
2 Solo Guitars with
WATERSMEET (Solo guitar and 2002
Songs with Guitar
o FOUR POEMS OF JOHN CLARE 1962
LONDON LYRICS (5 Songs)
DAPHNE TO APOLLO
(Voice & BarytonlGuitar)
1977
1997
12 minutes
Cadenza
7 minutes
Edition Stephen Gordon
17 minutes
3 minutes
Edition Stephen Gordon
17 minutes
9 minutes Cadenza Music
5 minutes
MUSIC FOR LUTE
SKETCHBOOK FOR 1983
16 minutes
TWO LUTES
MUSICK'S DUELL 1985
27 minutes
(Cantata for Soprano & Bass;
with Solo Lute: based on a poem
by Richard Crashaw - 17th century)
252
MUSIC FOR HARPSICHORD
* Distributed by The Kensington Music Shop
Solo Harpsichord
SIX INVENTIONS Set 1
1955
16 minutes
*
1961
15 minutes
*
1970
17 minutes
*
SONATA DIVISIONS
1982
22 minutes
1985
23 minutes
*
1993
20 minutes
Two Harpsichords
CARILLON
1967
7 minutes
Harpsichord & Guitar
DUO CONCERTANTE 1968 15 minutes Max Eschig
DIALOGUES 1976 10 minutes
Harpsichord & Harp
DUOALLAFANTASIA 1981 12 minutes
Violin & Harpsichord
THE NEW TERPSICHORE Book I 1995 7 minutes
THE NEW TERPSICHORE Book II 1996 9 minutes
Recorder & Harpsichord
W ARBECK DANCES 1970 10 minutes Peacock Press
(Substantially revised in 2001)
SHINE AND SHADE
1975 8 minutes
Oboe & Harpsichord
SUITE in D
1972
9 minutes OUP
253
Solo Voices & Harpsichord
CHANSON de CROSIADE
1982
8 minutes
QUATRE RONDEAUX de
CHARLES d'ORLEANS
1982
9 minutes
THE SNAIL & THE BUTTERFL Y
1990
5 minutes
(two tenors)
Harpsichord in Chamber Music
LOVE'S MADNESS
1970
14 minutes
(Soprano, Violin, Viola,
Cello and Harpsichord)
V ARIAZIONI CONCERTANTI 1970
16 minutes
(Flute, Oboe, Violin,
Cello and Harpsichord)
AULOS VARIATIONS 1977 11 minutes
(Flute, Oboe and Harpsichord)
SONATA for FOUR 1982 20 minutes
(Oboe, Violin, Cello and Harpsichord)
W ARBECK TRIO 2002 10 minutes
(Recorder, Bassoon and Harpsichord)
VENUS TO THE MUSES 2002 6 minutes
(Soprano, Recorder, Bassoon
and Harpsichord)
Harpsichord Concertos
CONCERTO DA CAMERA No 1 1963 18 minutes
(Violas, Cellos and Harpsichord) (revised 1973)
ARLINGTON CONCERTANTE 1987 Arlington (Texas)
Single movement: solo harpsichord
with woodwind quintet; brass quintet;
double-bass and light percussion
13 minutes
254
MUSIC FOR SOLO PIANO
SONATA No 1 (in F) 1959 14 minutes In manuscript form
FOUR MOODS OF THE WIND 1968 8 minutes In manuscript form
SONATA No 2 (in C) 1975 20 minutes In manuscript form
SONATA No 3 (Variation on aRhytbm) 1983 23 minutes In manuscript form
SONATA No 4
1988 22 minutes In manuscript form
SONATA No 5
SONATA No 6
SIX BAGATELLES
SONATA No 7
PIANO DUET
SONATA FOR PIANO DUET
1949
10 minutes In manuscript form
255
WORKS FOR HARP (Solo .;. in Chamber Music .;. Concerto)
FANTASY for HARP
BALLADE for HARP
DUO for FLUTE & HARP
DUO ALL FANTASIA
(for Harp & Harpsichord)
COUNTDOWN
(for Oboe & Harp;
suite of 4 movements
1952
1969
1958
1981
1990
SOLWAY SUITE 1974
(for Flute, Viola & Harp;
alternatively for Flute cello & Harp)
Septet
SEPTET V ARIA nONS 1975
(for Flute, clarinet,
Harp & String Quartet)
lfur,p & Strings
ODE
1980
(Single movement; with
approximately 15 string players)
Flute. Harp & Strings
CONCERTINO for Flute,
1999
Harp & Strings
Chorus with Harp
HOME-BRED PICTURES
2001
6 minutes Stainer& Bell
7 minutes
10 minutes Just Flutes (Distrib.)
12 minutes
13 minutes
15 minutes
13 minutes
10 minutes
15 minutes
16 minutes
256
MUSIC FOR SOLO VOICES
Solo Voice with Single Instrument
TIDEWAYS
Soprano and Piano
Psyche
The Needle
The Gypsy
Doria
FOUR POEMS OF JOHN CLARE
Tenor and Guitar
Trotty Wagtail
The Peasant Poet
Turkeys
The Fox
BUSH BALLADS
Mezzo & Piano
1950
1962
1974
The Bushranger (Kenneth Slessor)
Christmas (David Martin)
Woman at the Washtub (Victor J. Daley)
LONDON LYRICS 1977
Tenor & Guitar
London is a milder curse
(pierre Motteux)
Shadwell Stair (Wilfred Owen)
From a ship, tossing (A.H. Clough)
Margaret, Maud and Mary Blake
(Rostrevor Hamilton)
River Music (Cecil Day Lewis)
THE TOWER
1980
Poem by Robert Nicols
Baritone & Organ
CHANSON DE CROISADE
1982
Countertenor & Harpsichord
Anon 13th Century
11 minutes
10 minutes
10 minutes
8 minutes
15 minutes
15 minutes
10 minutes
8 minutes
Cadenza Music
In manuscript form
In manuscript form
Cadenza Music
In manuscript form
In manuscript form
In manuscript form
257
QUATRERONDEAUXdeCHARLES
d'ORLEANS 1982
High voice & Harpsichord
Le Temps a laissie son Manteau
Quant j' ai ouy Ie Taborin
En regarclant ces belles leurs
Allez vour en, allez, allez!
DAPHNE TO APOLLO
Voice & Baryton/Guitar
1997
BUSH BALLADS (Second Series) 1998
Voice & Piano
Meet me in Botany Bay
TheSickStocklider
Holy Dan
The style in which it's done
Old Harry
The Parson and the Prelate
Solo Voice with InstrumentslEnsemble/Orchestra
LOVE'S MADNESS 1970
Soprano with string trio & Harpsichord
Cantata setting of 5 medireval quatrains:
Latin, middle-English; old French
THREE WINTER SONGS 1972
Soprano with oboe & piano
Birds in Winter (George Crabbe)
Winter the Huntsman (Osbert Sitwell)
February (Hilaire Belloc)
LAST OF THE LEAVES
1972
Bass with solo clarinet and piano
Cantata setting of 4 poems:
The Rose and the Gardener
(Austin Dobson)
The Leaf Burners (Ernest Rhys)
The Donkey (G.K. Chesterton)
At a Country Dance in Provence
(Harold Munro)
9 minutes
In manuscript form
5 minutes
In manuscript form
258
GIPSY SONGS 1976
Mezzo with clarinet and piano
Words from 'The Gipsies Metamorphosed'
(Ben Jonson)
A Tattered Nation
Ptolemy's Bells
The Lord Treasurer's Fortune is told
The Faery Beam upon you 12 minutes In manuscript form
EPIGRAMS FROM A GARDEN 1977
Contralto with Clarinet Choir
(minimum 12 clarinettists)
Verses of Francis Daniel Pastorius
(17th century American)
Rules for Entering my Garden
Weeds
Camomile and Cowslips
Waste and Wisdom
Envoi
HYMNUSDE
SANCTO STEPHANO
Soprano and Guitar Ensemble
Medieval Latin Hymn to
Hungary's patron saint
1983
VENUS TO THE MUSES 2002
Soprano, recorder,
bassoon and harpsichord
Two Solo Voices
THE DISTANCE BETWEEN 1969
Soprano & Baritone with piano
Cycle for vocal duet;
words by Louis MacNeice
Prologue
April Fool
Dreams in Middle Age
Invocation
Visitation
259
MUSICK'S DUELL
1985
Soprano, Bass & Lute
Dramatic Cantata;
libretto extracted from
poem by Richard Crashaw
THE SNAIL AND
1990
THE BUTTERFL Y
Two Tenors with Harpsichord
Poem adapted from
The Fables of John Gay
BUSH BALLADS (Third Series)
2003
Vocal duets with piano
Three or More Solo Voices
CADILLY 1968
Vocal Quartet with Wind Quintet
Entertainment, based on a story from
'Tales from the Fens';
libretto by David Reynolds
ILLUMINARE JERUSALEM 1972
Male Voice sextet, unaccompanied
Medieval Carol
JOHN CLARE'S 1977
WOOING SONGS
Countertenor, Tenor, Baritone & Piano
Nobody cometh to woo
Peggy
Farewell
27 minutes
In manuscript fonn
5 minutes
In manuscript fonn
9 minutes
28 minutes In manuscript fonn
3'li minutes In manuscript fonn
13 minutes In manuscript fonn
260
WORKS FOR CHORUS
Unaccompanied Chorus
BENEDICTUS
BEFORE THE PALING
OF THE STARS
Carol SATB
THE INNOCENTS
Motet SSA TBB;
1969
1974
Christina Rossetti
1975
Innocent's Song Charles Causley
Innocent's Day Norman Nicholson
4 minutes
3 minutes
In manuscript form
Warner Chappell
Prayer Before Birth Louis MacNeice 20 minutes In manuscript form
Commissioned by the London Chorale
JUBILATE
BENEDICITE
MAGNIFICAT &
NUNCDIMITTIS
1981
1983
1985
2 minutes
3 minutes
In manuscript form
In manuscript form
Canticles SATB 7 minutes
In manuscript form
Written for the Chapel Royal at the Tower of London
SONGS OF THE HEART 1986
Cycle of partsongs SA TB
o Rhythmic Souls Mary Duclaux
A Sleep Song Sydney Dobell
The Gypsy's Malison Charles Lamb
Bien-Aimee William Cory
INVOCATION Louis MacNeice 1988
Partsong SA TB
MISSABREVIS 1991
Male Voice Choir
THE COUNTRY WEDDING 1987
Unaccompanied partsong
with Solo violin
3 minutes Novello
Thomas Hardy 9 minutes
In manuscript form
Commissioned by the Felling Male Voice Choir
Boys' Choir
BIRD SONGS
Cycle of partsongs
unaccompanied 3-part
Anon
261
1976
Hoo! Hoo!
Sparrows fighting
Cock-crow
The Cuckoo
W.H. Davies
Edward Thomas
Vivian Locke Ellis
Commissioned by the London Boy Singers
Girls' Choir
DALE FOLK
1955
Partsongs (2-part)
with piano (or Clarinet Quartet)
The Fanner's Wife to her white heifer
The Moorland wife in Leeds
The Mother to her infant son
Dorothy Una Ratcliffe
(in Yorkshire dialect)
HYMN TO HARMONY
Cantata. Chorus & semichorus
(both SSA) with orchestra
1962
8 minutes
In manuscript form
William Congreve 23 minutes Warner Chappell
Written for St. Paul's Girls' School, Hammersmith
FOUR FABLES
Cantata. Chorus and semichorus
(both SSA) with orchestra
The Man and the Flea
The Lady and the Wasp
The Council of Horses
The Hare and Many Friends
John Gay
1968
Written for Badminton School, Bristol
262
Children's Choir
LAMNIAS FAIR 1952
Operetta in one act for
treble and alto voices.
Five principal characters,
and two-part chorus,
words by Stephen Dodgson 45 minutes
THE NATIVITY 1965
Choral narrative with tableaux
for church perfonnance; with piano;
plus optional organ, flute & percussion
Gospels, Quarles, Traheme & Traditional
Choir and Organ
ALL TillS NIGHT
SHRILL CHANTICLEER 1952
Anthem for SA TB with organ.
Words by William Austin
'TIS ALMOST ONE
Sequence of 5 anthems SA TB
(2 treble solos, 1 tenor solo)
Evening Hymn
Cock-crow
Weigh me the Fire
Thanksgiving
The Bellman
Robert Herrick
1984
8 minutes
Commissioned by the BBC for the Choir of King's College, Cambridge
Chorus with Instruments
IN WILDE AMERICA 1976
Cantata SA TB plus semichorus
(SSATBB) with flute, Oboe,
Organ and Brass Quintet
Early American poets
Commissioned by Harrow Philharmonic Choir
263
SIR JOHN 1980
SA TB; with Violin, Hom & Piano
A scene from village life;
John Clare 23 minutes In manuscript form
Commissioned by the William Byrd Singers, Manchester
FOUR POEMS OF
MARY COLERIDGE
Cycle of partsongs SATB;
with solo flute
Thistledown I
Nocturne I
Nocturne II
Thistledown II
1987
Commissioned by the Holst Singers, London
HOME-BRED PICTURES 2001
Chorus with harp
Chorus, with Soloists and Orchestra
THE SOUL'S PROGRESS 1953
Cantata: a sequence of four sacred
pieces, for Soprano and Mezzo-
Soprano soli, mixed chorus, Brass
instruments (3 Trumpets, 3 Trombones,
4 Horns & Tuba) Timpani and Harp
1. The Pilgrim (George Crabb)
2. Seek the Lord (Thomas Campion)
3. Evening Hymn (Sir Thomas Browne)
4. Thou art my Life (Francis Quarles)
TE DEUM (with Exhortations 1972
from the Martyrs)
SATB; Soprano, Tenor, Bass soloists;
Latin Text,
with interpolations taken from
Fox's Book of Martyrs
Commissioned by the Tilford Bach Society
MAGNIFICAT 1975
SA TB; SATB Soloists
Latin text
Commissioned by the Tilford Bach Society
23 minutes
34 minutes
32 minutes
264
MUSIC FOR BRASS
Standard Brass Quintet
SONATA FOR BRASS
1963
10 minutes
Chester
CROSSWAYS
1988
8 minutes
Studio Music
SPICE OF LIFE
1991
7 minutes
June Emerson Wind
Music (Distributor)
EXCURSIONS (3 pieces)
1997
8 minutes
Denis Wick
PHILIP'S REPOSE
2000
1 Y2 minutes Edition BIM
(Switzerland)
Brass Sextet U Trumpets; .3. Trombones)
FANTASIA for Six Brass 1987
10 minutes Studio Music
Brass Septet U Trumpets . .3. Trombones Tuba)
SUITE FOR BRASS SEPTET 1957 10 minutes Chester
Brass Quintet with Clarinet Quartet (including saxaphone)
ORION (Variations)
BEYOND ORION
1984
2001
Brass Quintet with Woodwind Quintet & Percussion
ARLINGTON CONCERTANTE 1987
(Harpsichord Concerto)
Concertos
CONCERTO FOR
BASS TROMBONE
(with Symphony Orchestra)
TRUMPET CONCERTO
(with Wind Band)
1985
2002
10 minutes
6 minutes
13 minutes
18 minutes Studio Music
14 minutes Denis Wick
CORLEONIS
Brass Band
YOUREYESSNITLEPEACE
Tuba and Piano
CERBERUS
Brass Trio with Piano
="'-== ----
DIVERTIMENTO for 4
(TrunrrpeV1Ior.n!fuba)
265
1991
3 minutes Edition BIM
1994
5 minutes
2001 4 minutes
1995 10 minutes
266
MUSIC FOR WOODWIND
Flute
FLUTE QUARTET
(Flute and String Trio)
DUO FOR FLUTE and HARP
CAPRICCIO for
FLUTE and GUITAR
IN SEARCH OF FOLLY
(Flute and Guitar)
FIVE OCCASIONAL PIECES
(with Pianoforte)
FLUTE CONCERTO (with strings)
o SWALLOW
(Flute in A - or G - with Pianoforte)
TWO PIECES FOR SOLO
1955
1958
1980
1986
1990
1991
1992
ALTO FLUTE 1994
1) THE FAERY BEAN UPON YOU
2) THE SILVER TUBE
CONCERTINO for FLUTE,
HARP & STRINGS
Oboe
SUITE IN C MINOR
(with Pianoforte)
SONATA for COR ANGLAIS
(with Pianoforte)
SUITE in D (with Harpsichord)
MASQUE for Oboe Band
(Baroque; including Bassoons)
SONATA (with Pianoforte)
COUNTDOWN (with Harp (Suite)
OBOE QUARTET
(with String Trio)
1999
1957
1967
1972
1984
1987
1990
1993
19 minutes
10 minutes
9 minutes
7 minutes
16 minutes
14 minutes
8 minutes
4 minutes
3 minutes
15 minutes
12 minutes
13 minutes
9 minutes
7 minutes
13 minutes
13 minutes
15 minutes
Just Flutes (distrib.)
Schott
Moseler Verlag
Cadenza Music
June Emerson (dist)
OUP
267
Flute & Oboe
THE OLD CIGARETTE LIGHTER 1961
(with Narrator & Pianoforte)
AULOS VARIATIONS 1977
(with Harpsichord)
Bassoon
BASSOON CONCERTO
WARBECK TRIO
(with Recorder and Harpsichord)
Oboe & Bassoon
TRIO for OBOE,
BASSOON & PIANO
1969
2002
1973
Soprano. Recorder. Bassoon & Harpsichord
VENUS TO THE MUSES 2002
Clarinet
GIPSY SONGS 1976
(with Soprano & Pianoforte)
BAGATELLES for
FOUR CLARINETS 1977
(Song Cycle for Contralto
with CLARINET CHOIR)
CLARINET CONCERTO
1983
CAPRICCIO CONCERTANTE
1984
(Concerto with Wind Orchestra)
BAERMANN'S TREASURE
1986
(with Pianoforte)
BAERMANN-THESEQUEL
1995
(with Pianoforte)
18 minutes
11 minutes Worldwide Music
Services
19 minutes
10 minutes
16 minutes
6 minutes
12 minutes
11 minutes June Emerson (dist.)
18 minutes
21 minutes
268
Oboe, Clarinet & Bassoon
SERENADE
1959
8 minutes
Wind Quintet
SUITE
1965
17 minutes
CADILL Y (Entertainment for
1968
28 minutes
four singers & Wind Quintet)
SONATA
1977
10 minutes
THE OLD CIGARETTE LIGHTER 1984
18 minutes
(New version of 1961 work,
originally for Flute, Oboe,
Pianoforte & Narrator)
PROMENADEll 1988
7 minutes
(New version of a work
originally for two guitars)
FIVEPENNY PIECES 1995 13 minutes
(arranged) LYADOV:
8 RUSSIAN FOLK SONGS 1995 18 minutes
DIVERSIONS 2000 12 minutes
Wind Ensemble
P ARTITA for 10 Wind Instruments 1994 16 minutes
(pairs of Flute, Oboes,
Clarinets, Bassoons, Horns)
PIECES OF EIGHT
(3 pieces for Octet: 1997 12 minutes
Oboes, Clarinets, Bassoons, Horns)
Recorder
1970 10 minutes
W ARBECK DANCES
(with Harpsichord)
(substantially revised in 2001)
SHlNE AND SHADE
(with Harpsichord)
THE MAZE (unaccompanied)
CONCERTO CHACONY
(Treble recorder & strings)
W ARBECK TRIO
(a version ofWARBECKDANCES
with the addition of a bassoon)
1975 8 minutes
1997
2000
2002
4 minutes
9 minutes
10 minutes
June Emerson (dist.)
Peacock Press
269
MUSIC FOR WIND ORCHESTRA AND LARGER WIND ENSEMBLES
WIND SYMPHONY 1974 (Harrogate Festival)
Prologue; Scherzo; Interlude; Procession
(large forces) 21 minutes Denis Wick
Revised version: structurally
similar but substantially altered
in instrumentation
1999
21 minutes
THE EAGLE 1976 (Musselburgh)
Single movement; Tone Poem after Tennyson 9 minutes
MATELOT 1977 (Bergen [Norway])
Diversions after Grieg's "Sailor's Song" 8 minutes
STANZAS
1980 (Guildford)
Single movement - continuous variations
(large forces employed in concertante style)
MARCHRIDER 1990
Single movement; modest forces
Substantially revised version 1999
FLOWERS OF LONDON TOWN 1991
Symphonic Sequence; after
William Blake's 'Holy Thursday'
in the Songs of Innocence;
in three 'stanzas', but continuous
13 minutes
(Glasgow)
8 minutes
8 minutes
(Kansas City [USA] )
21 minutes
Denis Wick
Novello
BANDWAGON
1992 (Salisbury and London)
Five Occasional Pieces
22 minutes
ST. ELMO'S FIRE
1998 7 minutes Denis Wick
For Wind Band
Clarinet Concerto
CAPRICCIO CONCERTANTE
1984 ( Guildford)
Subtitled "All Hallows' Eve";
single movement
270
Voice & Clarinet Choir
Contralto with Clarinet Choir (minimum 12 clarinettists)
Verses of Francis Daniel Pastorius (l7th century American)
Rules for Entering my Garden
Weeds
Camomile and Cowslips
Waste and Wisdom
Envoi 16 minutes
271
MUSIC FOR SOLO STRINGS/CHAMBER MUSIC FOR STRINGS
Violin
THREE DANCES FOR
VIOLIN & PIANO
(with piano)
VIOLIN SONATA
(With piano)
Viola
SONATA for VIOLA & PIANO
CAPRICE AFTER PUCK
(solo Viola)
Cello
SONATA for CELLO & PIANO
(with piano)
P ARTIT A for SOLO CELLO
TWO ROMANTIC PIECES
(with piano)
Double-Bass
LIGHTING THE MATCH
(With piano)
1950
1982
2000
1963
1978
1968
1970
1974
1985
1996
2000
8 minutes
15 minutes
16117 minutes
15 minutes
10 minutes
21 minutes
16 minutes
16 minutes
18 minutes
8 minutes
1 ~ minutes
Chamber Music for Strings Alone
FANTASY STRING QUARTET
STRING TRIO No 1
STRING TRIO No 2
BARYTON TRIO
(Baryton, Viola & Cello)
STRING QUARTET No 1
STRING QUINTET
STRING QUARTET No 2
STRING QUARTET No 3
STRING QUARTET No 4
(Five Occasional Pieces)
STRING SEXTET
STRING QUARTET No 5
ROOT & BRANCH
(Double-Bass & Cello)
STRING QUARTET No 6
STRING QUARTET No 7
Chamber Music for Strings with Piano
PIANO QUINTET
PIANO TRIO No 1
(,Methought this other night')
PIANO TRIO No 2
(in one movement:
'Canonic Episodes')
PIANO QUINTET No.2
(Commissioned by
Holmes Chapel Music Society
in memory of Ida Carroll)
PIANO TRIO No.3
Chamber Music for Strings with Guitar
GUITAR QUINTET
(Guitar & String Quartet)
272
1948
14 minutes
1951
21 minutes
1964
12 minutes
1975
12 minutes
1985
21 minutes
1986
30 minutes
1987
25 minutes
1989
23 minutes
1993 21 minutes
1996 16 minutes
1998 16 minutes
1998 5 minutes Recital Music
2001 19 minutes
2001 16 minutes
1966 26 minutes
1967 14 minutes
1973 13 minutes
1999 17 minutes
2000 18/19 minutes
1973
15 minutes
273
Chamber Music for Strings with Oboe
OBOE QUARTET 1993 15 minutes
Chamber Music for Strings. Flute. Clarinet & Harp
CAPRICCIO & FINALE 1952 17 minutes
(Flute, Clarinet, Harp and String Trio)
274
ORCHESTRAL MUSIC (INCLUDING CONCERTOS)
Symphony Orchestra
TARASBULBA
1950
ESSAY No. 1
1980
ESSAY No. 2
1981
ESSAY No. 3
1982
ESSAY No. 4
1984
ESSAY No. 5
1986
ESSAY No. 6
1991
ESSA Y No.7 (strings only)
1992
ESSAY No. 8
2000
Chamber Orchestra
SYMPHONY IN E b 1952
(for Classical Orchestra)
INTERMEZZO FOR ORCHESTRA 1954
SERENADE FOR SOLO VIOLA 1956
and ORCHESTRA
SYMPHONY 1988
IN ONE MOVEMENT
SINFONIA : TROIA-NOVA 1989
THE RISING OF JOB 1995
DIVERTIMENTO 1996
Concertos with Chamber Orchestra
GUITAR CONCERTO No.1 1956
PIANO CONCERTO IN B MINOR 1959
BASSOON CONCERTO 1969
GUITAR CONCERTO No.2
CLARINET CONCERTO
1972
1983
11 minutes
14 minutes
13 minutes
11 minutes
13 minutes
12 minutes
13 minutes
14 minutes
15 minutes
28 minutes
5 minutes
14 minutes
22 minutes
21 minutes
8 minutes
14 minutes
19 minutes Berben
25 minutes
19 minutes
22 minutes Berhen
21 minutes
275
Concertos (etc.) with String Orchestra
NOCTURNE FOR 1959
STRING ORCHESTRA
CONCERTO da CAMERA No.4 1971
(Piano)
LAST OF THE LEAVES
Cantata for solo Bass,
with Obbligato Clarinet
The Rose and the Gardener
(Austin Dobson)
The Leaf Burners
(Ernest Rhys)
The Donkey
(G.K. Chesterton)
1975
At a Country Dance in Provence
(Harold Munro)
ODE (Harp) 1980
DUO CONCERTO
Violin and Guitar
FLUTE CONCERTO
1990
1999
6 minutes
22 minutes
22 minutes
10 minutes
21 minutes
14 minutes
276
Addresses of PublisherslDistributors
BERBEN, Via Redipuglia 65, 60122-Ancona, Italy.
BROEKMANS & VAN POPPEL, Van Baerlestraat 92 - 94, A m s t e r ~ Netherlands.
CADENZA MUSIC, 48 Ridgeway Avenue, Newport, Gwent, NP20 5AH.
EDITIONS ORPHEE Inc, 407 N. Grant Ave., Suite 400, Columbus, Ohio 43215 USA.
EDITION STEPHEN GORDON, 54 St. David's Hill, Exeter, EX44DT.
JUNE EMERSON WIND MUSIC, Windmill Fann, Ampleforth, York, Y06 4HF.
JUST FLUTES, 67 Walton Street, Walton-on-the-Hill, Tadworth, Surrey, KT20 7RZ.
MOECK VERLAG, Postfach 143, 3100-Celle, Germany.
MGSELER VERLAG, Postfach 1661, 3340-Wolfenbutlel, Germany.
MUSICAL NEW SERVICES Ltd., 20 Denmark Street, London WC2H 8NE.
VERLAG HUBERTUS NOGATZ, Unterer Pustenberg 42, 45239-Essen, Germany.
277
APPENDIX 4
Record of film and radio play scores written by Stephen Dodgson
Film scores: both films made by President Pictures Limited
1958
The Kingdom of Scotland
A documentary on Scotland, the score for which comprises approximately twenty minutes
of music for small orchestra, based on traditional Scottish folk tunes.
1960
On the Menu
A documentary about the fishing industry, the score for which comprises approximately
twenty minutes of music for orchestra. It includes some original music but most of the
score derives directly from traditional tunes.
Music for BBC drama productions
1961
The Beaux: 's Stratagem
1965
Love for Love (employing original music by Godfrey Finger)
The Legacy
1966
The Old Bachelor
1967
The Gay Lothario and Mrs. Grundy (a double bill)
1968
Bartholomew Fair (one extensive sequence based on Packington 's Pound)
La Veneziana
1969
The Ghost of a Play
Perkin Warbeck
278
1970
Henry VI (in two parts)
The Morte d 'Arthur (serialized)
Women in Power (Aristophanes, in a new translation by Patric Dickinson)
1971
Macbeth
Sir Gawain and the Green Knight (serialized)
1972
Ajourney to London (incorporating original songs by Henry Carey)
The Silent Woman
1974
The London Cuckolds
279
APPENDIX 5
RECORDINGS OF MUSIC BY COMPOSED BY STEPHEN DODGSON
INCLUDING GUITAR(S)
Partita No.1 (1963)
Philippe Azoulay
Alex Garrobe
Sharon Isbin
Alberto Ponce
Alberto Ponce
Alberto Ponce
Solo Guitar
John Williams on Virtuoso Music for Guitar
also on CD:
Etudes for Guitar: Book 1 Nos. 1 & 1: (1965)
Oscar Caceres
Harmonia Mundi HMCD 78
OPERA TRES: CDI039
Denon OX-7224-ND
Arion: ARN30 S 150
Arion ARN 31 953
MHS 3603
CBS: BRG 72348 (1965)
[AM COL: MS 6696]
SONY: SBK 617160617162005
ERATO: STU 70904
Etudes for Guitar: Book 1 No.8 & Book .2 No. 13 (1965)
Oscar Caceres
Fantasy Divisions (1969)
Qlivier Chassain on Almost a Song
Alex Garrobe
Marcelo Kayath
Judicael Perroy
John Williams
John Williams
John Williams
on John Williams plays Guitar Music from Spain,
England, Japan, Mexico and South America
ERATO: STU 70614
METRONOME: METCD 1021
OPERA TRES: CDI039
HYPERION: A66103 (1986)
QUANTUM: dQM 7001
CBS: 73205 (1969)
Columbia M 35123
CBS: DC 40140 (1973)
CBS: DCT 40140
Study No.1 and Serenade (1974)
John Mills (guitar)
(1978)
Partita No. 2. (1976)
John Williams
Legend (1977)
Forbes Henderson
(1977)
Partita No.3 (1981)
L. Biscaldi
Alex Garrobe
Three Attic Dances (1989)
Eleftheria Kotzia
280
Concertos
NEW MUSICAL SERVICES: GI05
CBS 72348
NEW MUSICAL SERVICES: G121
LIRA LRLP 0031
OPERA TRES: CDI039
PEARL: SHE CD9634
Concerto No 1 for Guitar and Chamber Orchestra (1956)
John WillimaslEnglish Chamber Orchestra/Charles Groves
Concerto No 2. for Guitar and Orchestra (1972)
CBS 72661 (GerCBS: 77334) (1968)
or in set M3X 31508
[AM COL: MS 7063]
CD: SONY: SBK61716 0617162005
John WilliamslEnglish Chamber Orchestra/Charles Groves
CBS 72948 (1977)
[AM COL: MS 31194]
COLUMBIA M 35172
CBS 76634
281
Duo Concerto for Violin" Guitar & Strings (1990)
Jean-Jacques Kantorow (violin) & Anthea Gifford
(guitar)The Northern SinfoniaiRonald Zollman BIDDULPHRECORDINGS IA W013
Concertino for Two Guitars & Strings "Les Dentelles" (1998)
Mark Eden and Chris Stell (guitars) with
'Orchestra Nova' conducted by George V ass
Guitar Duet
Promenade I (1988)
Eden/Stell Guitar Duo (on 'The Selevan Story')
Eden/Stell Guitar Duo
Pastourelle (1992)
1997
Amadeus Guitar Duo
Riversong (1994)
Groningen Guitar Duo
Follow The Star (1979)
Guitar Trio
Mark Eden, Chris Stell, Jonathan Leathwood
(on The Selevan Story)
Mark Eden, Chris Stell, Helen Sanderson
Zagreb Guitar Trio
BGS RECORDS CD108
ESGRECORDS
BGS RECORDS CDI08
DOCKER RECORDS: DR228/277
BGS RECORDS CDI08
FSM: FCD97256
BGS RECORDS CDI08
OTTAVO: OTR C129453
ESGRECORDS
BGS RECORDS CDI08
BeSTMUSIC CD 1037
282
Guitar Ensemble
Divertissement (1983)
Miffi Hirsch (violin), Gerald Garcia (requinto),
Stephen Goss, Dan Thomas, Gerald Garcia (guitars),
Jonathan Leathwood (acoustic octave bass guitar)
(on The Selevan Story) ESG RECORDS
Hymnus de Sancto Stephano (1983)
Jenevora Williams (soprano),
Stephen Goss, Richard Storry, Bridget Upson,
Jonathan Leathwood (guitars)
The Selevan Stm), (1992)
Rhian Clement (flute), Jane Carwardine (violin),
Stephen Gordon/Gerald Garcia (guitar duo),
Dan Thomas, Stephen Goss, Jonathan Leathwood,
Briget Upson (guitars)
ESGRECORDS
ESGRECORDS
Chamber music which includes the guitar
Duo Concertante for Guitar and Harpsichord (1968)
Bensa/Siegel
John Williams (guitar) Rafael Puyana (harpshichord)
Craig Ogden (guitar) Pamela Nash (harpsichord)
Quintet for guitar and string quartet (1973)
Circe 87102
CBS 72948 (1971)
[AM COL: MS 31194]
CAMEO 2032
Darko Petrinjak (guitar) The Rucner String Quartet Cantus 988 98492342 (2003)
283
Capriccio for Flute and Guitar (1980)
Rhian Clement (flute) Jonathan Leathwood (guitar)
(on The Selevan Story) ESG RECORDS
William Bennett (flute) Jonathan Leathwood (guitar)
(on Mountains Toward The Sea) BEEP Records: BP34
High Barbaree: Capriccio in pursuit of an old Sea-Song (1999)
John Turner (recorder) Craig Ogden (guitar)
and Pamela Nash (harpsichord)
(on High Barbaree: The Music o/Stephen Dodgson) CAMEO 2032
Voice and Guitar
[Four] Poems of John Clare (1962)
Wilfred Brown (tenor) John Williams (guitar)
Arrangement of.3. Songs Mikis Theodorakis
John Williams (guitar) Maria F arandouri (voice)
Arrangement of Seven Songs of Lorca
by Mikis Theodorakis
John Williams (guitar) Maria Farandouri (voice)
Daphne to Apollo (1997)
Lesley-Jane Rogers (soprano) Craig Ogden (guitar)
CBS: 61126
[ODYSSEY: 32160398]
CBS 72945
COLUMBIA (USA) M32686
CBS KGS-90200 (UK)
CBS 72945
COLUMBIA (USA) M32686
CBS KGS-90200 (UK)
284
NOT INCLUDING GillTAR(S)
Suite for Brass Septet (1957)
Philip Jones Brass Ensemble
Duo for Flute and Hm:n (1958)
The Beynon Sisters
Emily ( flute) and Catherine (harp)
Anna Noakes (flute) and Gillian Tingay (harp)
(on Beyond the Dark)
Piano Sonatas Nos. 1. 3 & 6 (1959 - 1994)
Bernard Roberts (piano)
on Dodgson Sonatas Volume 2
The Mikado (Overture) (1962)
Sadlers Wells Orchestral Alexander Faris
Sonata for Brass Quintet (1963)
Philip Jones Brass Ensemble
String Trio No. 2. (1964)
Esterhazy String Trio
ARGO: ZRG 655
METIER: MSV CDg2006
GUILD GMCD 7202
CLAUDIO CC4941-2
HMV: CLP 1592
HMV CSD 1458;
World Record Club SOC 244/5
ARGO 223
ARGO 813
MUSIC IN OUR TIME: MIOTLP 2
Piano Trios 1. 2 & 3: Bagatelles for Piano (1967 - 2000)
Bernard Roberts Trio
CLAUDIO CC5257-2
Inventions for harpsichord (Set 3) (1970)
Numbers 1,3,4, and 6
Pamela Nash
285
nluminaire Jerusalem (1972)
for seven unaccompanied male voices
The King's Singers
HMV: HQS 1308
Suite in D for Oboe and Harpsichord (1972)
Evelyn Barbirolli (oboe) Valda Aveling (harpsichord) HMV: HQS 1298
"Last of the Leaves" (1975)
Cantata for Bass, Clarinet & Strings
Michael George (bass-baritone) & John Bradbury
(clarinet) The Northern Sinfonia/Ronald Zollman
Piano Sonatas Nos. 2, 4 & 5 (1975 - 1992)
Bernard Roberts (piano)
on Dodgson Sonatas Volume 1
Shine and Shade (1975)
John Turner (recorder) and Pamela Nash (harpsichord)
BIDDULPHRECORDINGS LA W013
CLAUDIO CC4431-2
Piers Adams (recorder) and Julian Rhodes (piano) TREMULA: TREM 103-2
(Actually written for recorder and harpsichord.)
Bagatelles for Four Clarinets (1977)
The Ebony Quartet on Overtones
MRFD93100
286
Quatre Rondeaux de Charles d'Orleans (1982)
Lesley-Jane Rogers (soprano)
(on High Barbaree: The Music of Stephen Dodgson) CAMEO 2032
Fantasia for Six Brass (1987)
The Philip Jones Brass Ensemble
Concerto for Flute & Strings (1991)
Robert Stallman (flute)
The Northern SinfoniaIRonald Zollman
The Faery Beam upon you (for solo alto flute) (1994)
Robert Stallman
(on Incantations)
Five Penny Pieces (1995)
Harlequin: Mark Underwood (flute, piccolo)
Bryony Otaki (oboe) Graeme Vinall (clarinet)
James Thomson (hom) Glyn Williams (bassoon)
on Diamonds
Daphne to Apollo (1997)
Hauschka Ensemble
(Marie Vassiliou (soprano, and
Jeremy Brooker (baryton)
Venus to the Muses (2002)
Lesley-Jane Rogers (Soprano) John Turner
(recorder) Graham Salvage (bassoon) and
Pamela Nash (harpsichord)
ARGO
BIDDULPHRECORDINGS IAW013
VAIAudio VAIA 1112
CHROMAmCARECORDINGS 0800
ES01ERIC BINAURAL: CD EBL 027
(on High Barbaree: The Music of Stephen Dodgson) CAMEO 2032
287
Warbeck Trio (2002)
John Turner (recorder) Graham Salvage (bassoon)
288
GLOSSARY
Apoyando A manner of striking the strings with the thumb or fmgers of the right hand
in which the thumb or finger follows through to come to rest on the adjacent
string. Also known as 'rest stroke'.
Frets Metal strips embedded into the fmgerboard of a guitar which enable the
player to prevent a portion of a string from vibrating when it is struck by the
right hand, and thus produce a specific note.
Lower bout The portion of the body of a guitar which lies below the waist (q.v.).
Plantilla The outline of a guitar body.
Saddle A strip of bone, ivory, or composite material set into the bridge, and over
which the strings pass.
Soundhole The (normally circular) hole in the body of a guitar which facilitates sound
projection
Tirando A manner of striking the strings with the thumb or fingers of the right hand
in which the moving thumb or finger strikes the string, but is positioned and
moves in such a way as to avoid contact with the adjacent string. Also
known as 'free stroke' .
Upper bout The portion of the body of a guitar which lies above the waist (q.v.).
Waist The narrowest part of the body of a guitar.
289
BIBLIOGRAPHY
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The Story of the Spanish Guitar, 4th edn, (London: Clifford Essex, 1968).
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Dodgson, Stephen.
Dodgson, Stephen.
Dodgson, Stephen.
Dodgson, Stephen.
Hambly, Scott.
MUller, Ulf.
Wright, Richard.
294
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